No description available.

Thesis (M.S.)--Villanova University, 2008. / Chemistry Dept. Includes bibliographical references.

Thesis (M.A.)--University of Delaware, 2005. / Principal faculty advisers: H. Perry Chapman & David M. Stone, Dept. of Art History. Includes bibliographical references.

Thése--Amsterdam. / Without thesis statement.

Thése--Amsterdam. / Without thesis statement.

Thesis (M.A.)--Florida State University, 2006. / Advisor: James J. Bloom, Florida State University, College of Visual Arts, Theatre and Dance, Dept. of Art History. Title and description from dissertation home page (viewed Sept. 26, 2006). Document formatted into pages; contains viii, 79 pages. Includes bibliographical references.

Hometown Boy är ett projekt av konstnären Liu Xiaodong. Tillsammans med en grupp medarbetare besökte han sin barndomsstad  Jincheng i nordöstra Kina, en stad han lämnade för trettio år sedan.. Resultatet visades på UCCA, Ullens Center for Contemporary Art i Beijing. Lius verk synliggjorde individer från en marginaliserad arbetarklass som inte ofta ges utrymme inom porträttkonsten. Mitt syfte har varit att tolka Lius Xiao Dou Hanging Out at the Pool Hall bland annat utifrån ett marxistisktfeministiskt förhållningssätt. Som metod har jag utgått ifrån bildanalyser av verken samt litteraturstudier. Jag fann bl a att dukstorleken tidigare var relaterad till idolporträtt i Kina och viktiga, gärna klassiska, teman i ett historiskt Europa. Jag fann vidare en diskrepans mellan Lius barndomsvänner och dem som dominerar musei- och galleribesök, vilket  jag ser som ett klassmöte där publiken ges möjlighet att studera de avvikande. Liu styr representationen av Xiao Dou. Han förflyttar henne till en manlig sfär och ger henne manliga attribut. I Jincheng Airport ser vi en passiv sida av Xiao Dou. Att Liu valt att avbilda Xiao Dou på dessa sätt kan vara för att väcka publikens intresse genom att rikta uppmärksamheten mot kvinnans situation på landsbygden och hur hon styrs av rådande ideologier och hur det i sin tur begränsar hennes möjligheter. Ändå funderar jag om publiken ser detta eller om vi fastnar i den fysiska representationen av Xiao Dou med för kort klänning i fel rum, en representation som i Xiao Dou Hanging Out at the Pool Hall fallit offer för en mans öga.

This study is an examination of Gerrit Dou’s Violin Player (1653, Liechtenstein, Vaduz Castle, Princely Collection). The painting is a visual testimony to Dou’s manual skills and trompe l’oeil manner of painting in his own innovative fijnschilder painting style. The composition incorporates and reinvents devices from a variety of sources from portraiture, genre painting, and emblem literature, such as the arched niche window framing the violinist. The work demonstrates the connection between music and painting in the relationship between the violinist and the background setting of an artist’s workshop. Through an iconographic analysis of works depicting the artist in the studio by Dou and his contemporaries the correlation between music playing and painting becomes evident. In this context, this relationship acts as an important device in fashioning the painter’s image as an elevated and scholarly artist and brings to light the power of music as a mode of inspiration for the painter in the studio. Additionally, tobacco smoking, which appears in many seventeenth-century Dutch self-portraits, in the context of the studio, was also perceived as an inspirational tool for the artist, thus contrasting with smoking in genre scenes of the lower classes as a symbol of waste and idleness. The work, similarly to other Dutch seventeenth-century paintings, is not a realistic representation but a cleverly constructed image that acts as an allegorical master deception for the amusement and entertainment of an educated, upper-class clientele. / Thesis (Master, Art History) -- Queen's University, 2008-09-24 23:56:10.869

My dissertation contributes to the material and sensorial interest in the humanities by focusing on the beholder’s phenomenological experience of multi-panel paintings by Gerrit Dou (1613-1675), Rembrandt’s first and most financially successful pupil. Dou has long been hailed as the founder of the Leiden fijnschilders (fine painters), who brought mimesis to the height of artistic achievement around mid-century. Archival documents reveal that at least eight of Dou’s paintings were once fitted within cases that featured highly illusionistic still life paintings on the outer surfaces of their hinged doors or sliding lids. While only two of the recorded covers survive, they feature both common and luxury objects with varied surface textures and lighting effects that exhibit a level of artifice true to the goal of painting professed by Philips Angel: schijn zonder sijn (“semblance without being”). Projecting out of the darkness of false shallow niches, the objects addressed the viewer in a trompe l’oeil mode and with a startling mimetic force that invited closer scrutiny. Yet, Dou’s still life works are rarely the subject of critical analysis and remain on the periphery of seventeenth-century Dutch art historical scholarship, overshadowed by his novel achievements in genre painting. Scholars most often interpret Dou’s still lifes as protective mechanisms for and allegorical glosses on the paintings they concealed. Instead, I argue that these approaches have limited our understanding of their significance. The disassembly and loss of most of these painted covers has further obscured their functions and meanings. My phenomenological approach underscores the ways in which these painted still life covers fostered an embodied relationship with the beholder in the context of the art collections for which they were destined. In Chapter 1, I gather evidence of Dou’s extant and lost still life covers and quantify this practice and consider these paintings together as an understudied corpus in concert with the paintings they covered. In Chapter 2 and 3, I provide historical and theoretical contexts for Dou’s nested paintings to ground them in pictorial and material traditions of concealment and revelation that permeated early modern culture (Netherlandish, German, and Italian) from the fourteenth- to the late seventeenth century. I consider them modern adaptations of the illusionistic images on the exterior of devotional diptychs and triptychs, insisting on their presence in the liminal space that connects the painted and real world. In Chapter 4, I analyze Dou’s painted still life covers as “meta-paintings,” characterizing them as theoretical objects charged with their own agency and the ability to invite the beholder to “think” with both their mind and body. Ultimately, I explore the ways in which Dou’s still life covers and René Descartes’s natural philosophy exhibit a shared and contemporaneous distrust of the senses through an epistemology of doubt and deceit, a premise that expanded the horizons of their respective fields in the seventeenth century. / 2025-09-21T00:00:00Z

Thesis (Ph. D.)--University of Chicago, Dept. of Linguistics, June 2000. / Includes bibliographical references. Also available on the Internet.