Thesis (M.F.A.)--Rochester Institute of Technology, 1979. / Typescript. Includes bibliographical references (leaves 13-14).

Thesis (M.F.A.)--Georgia State University, 2009. / Title from file title page. Cheryl Goldsleger, committee chair; Craig Dongoski, Pam Longobardi, committee members. Description based on contents viewed Sept. 1, 2009. Includes bibliographical references (p. 30).

Mémoire (S.A.)--Présenté à l'Université du Québec à Chicoutimi, 1986. / Document électronique également accessible en format PDF. CaQCU

As the fundamental motif of my thesis I selected topic ``Symptoms of psychical deprivation of children with a combined somatic handicap and its reflection in artistic expression{\crqq}. I selected this topic on purpose since I was very interested whether physically handicapped children who spend most of their life behind the walls of an asylum with similarly affected individuals show any mental deprivation and whether it influences their drawing. The main objective of the thesis was to ascertain whether children suffering from a physical handicap experience mental deprivation, immediately connected with their primary handicap and the life behind the walls of an asylum among similarly handicapped individuals. I believe that this issue has not been examined thoroughly yet. In the introductory part of the thesis I described the issue of mental deprivation and physical handicaps and outlined art therapy techniques in several chapters. In the practical part I pursued the objective of the research, i.e. analysis of drawings and collages and the manner how mental deprivation is reflected in the artistic works. I analysed particularly three kinds of basic drawing tests: Figure Test, Baum Test (tree test) and House Test. Some children also made drawings and collages on topics: I and My World{\crqq}, ``Snow White and Seven Dwarfs{\crqq} and ``Sleeping Beauty{\crqq}. I evaluated the works according to the Blatruschov{\crq}s and Ogdonov{\crq}s Figure Test and classic Koch{\crq}s Baum Test. Considering the character of the research objective and the nature of the available data, I decided for a qualitative methodological approach, using the following information collection techniques: analysis of personal documents (artistic works of physically handicapped children) documented by elaborated case studies. The diploma thesis may be utilized by art therapists, special pedagogues, psychologists and also students of special pedagogy and other health-social branches.

La présence des artistes chinois en France durant la première moitié du XXe siècle s’est fixée de manière exceptionnelle et durable à l’École des beaux-arts de Paris, au point qu’on puisse, à partir du dépouillement des archives nationales (cote AJ52), parler d’un « phénomène chinois à l’École des beaux-arts de Paris ». Ce phénomène a engagé plus de 130 élèves chinois inscrits dans les galeries et dans les ateliers de peinture et de sculpture entre 1914 et 1955. Aussi, cette présence à l’École des beaux-arts constitua une caractéristique essentielle du mouvement des artistes chinois en France et plus largement en Occident. À ce titre, ce phénomène a joué un rôle important dans l’évolution du champ artistique chinois moderne, sur le plan social,technique et artistique à travers un processus de « transfert culturel ». Ce phénomène fut possible grâce à une relation privilégiée qui exista entre la France et la Chine au début du XXe siècle (le « dialogue entre deux républiques »). Mais l’École des beaux-arts fut aussi un espace de concurrence entre les différentes tendances artistiques modernes chinoises dont beaucoup des chefs de file passèrent par les ateliers de l’École. Parmi eux,Xu Beihong (1895-1953) occupa une place particulière car il développa une stratégie sociale et artistique cohérente qui posait comme fondamentales la formation artistique académique et l’expérience à l’École des beaux-arts de Paris. Cette expérience enrichie par la maîtrise du dessin académique, de l’anatomie artistique et de la peinture d’histoire, fut orientée vers une production inédite à bien des égards en Chine, à l’huile et à l’encre. Aussi, après une période consensuelle des années 1910 aux années 1920, il semble qu’à partir des années 1930, le phénomène chinois à l’École des beaux-arts de Paris alimenta essentiellement le pôle éducatif et artistique de Xu Beihong en France et en Chine. Ce phénomène chinois à l’École des beaux-arts de Paris,attaché à la formation académique et à l’art académique français, fut un élément dynamique dans l’élaboration de la modernité artistique en Chine au XXe siècle. / The presence of Chinese artists in France during the first half of the Twentieth Century was an exceptional and enduring phenomenon at the National School of Fine Arts of Paris (École nationale des Beaux-Arts de Paris). Based on the analysis of the documents from the French National Archives, the number of Chinese students was so substantial that it deserves to be called as the 'Chinese phenomenon at the École des Beaux-Arts'. Between 1914 and 1955, more than 130 Chinese students enrolled at the 'Galeries' (preparatory training in drawing) and at the painting and sculpture studios called 'Ateliers'. This situation at the École des Beaux-Arts essentially reflected the movement of Chinese artists in France and more widely in the West. It played an important role in the changing field of the modern Chinese art, socially, technically and artistically ,through a process of "Cultural Transfer" and was made possible by the privileged relationship between France and China at the beginning of the Twentieth Century (the "Dialogue between two Republics"). Nevertheless, the École des Beaux-Arts also became an area of competition between the various modern Chinese artistic tendencies, as many leaders of different groups studied at the workshops of the École des Beaux-Arts. Amongthem, Xu Beihong (1895-1953), who developed a coherent social and artistic strategies, was especially significant. Xu received fundamental academic artistic training at the École des Beaux-Arts in Paris. Xu’s experience, enriched by his mastery of academic drawing, artistic anatomy and history painting, made his artistic production unprecedented in many respects of Chinese art, in oil and in ink. In addition, after a consensual period from the 1910s to the 1920s, it seems that from the 1930s, the Chinese phenomenon at the École des Beaux-Arts in Paris mainly fostered Xu’s central position in educational and artistic camps inFrance and China. This Chinese phenomenon at the École des Beaux-Arts in Paris, which is attached to academic training and to French academic art, was a dynamic element in the elaboration of artistic modernityin Twentieth Century China.