No description available.

Thesis (Ph. D.)--Ohio State University, 1989. / Includes vita. Includes bibliographical references (leaves 390-396). Available online via OhioLINK's ETD Center.

Thesis (Ph. D.)--Heidelberg. / Published in enlarged edition under title "Die Frankenthaler Maler; ein Beitrag zur Entwicklungsgeschichte der niederländischen Landschaftsmalerei" as no. 36 of Beiträge zur Kunstgeschichte, Neue Folge, 1910. Includes bibliographical references (p. [82]-84).

Inaug.-Diss.--Cologne. / Cover title. Vita. Includes bibliographical references.

Thesis (Ph. D.)--University of Minnesota, 1982. / Illustrations not filmed. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 285-289).

No description available.

Thesis (Ph. D.)--UCLA, 2010. / Vita. Illustrations not reproduced. Includes bibliographical references (leaves 219-245).

Thesis (Ph. D.)--New York University, 1987. / Includes bibliographical references (leaves 330-360).

In this thesis I examine the artistic contributions of Gerrit van Honthorst (1592-1656) to the sudden increase in the pictorial representation of musical subjects in Utrecht during the 1620s. Like his contemporaries, Honthorst was profoundly influenced by the complex and dramatic style of Michelangelo Merisi da Caravaggio (1571-1610) during his studies in Italy, and he adopted the new Italianate interpretation of realism and chiaroscuro in his painting technique by the time he returned to Utrecht in 1620. However, Honthorst employed a strategy of representation that combined painterly techniques from the milieu of Italian art with subjects and themes from Netherlandish tradition, resulting in an innovative category of genre painting that was both familiar and new to the contemporary viewer. Through an analysis of a representative sample of Honthorst’s paintings of musicians and their relation to contemporary Dutch trends and interests, I consider how his works resonated with the aesthetic tastes of Northern patrons. I argue for the presence in Honthorst’s paintings of musicians of elements from contemporary Dutch culture, such as literary conventions, artistic tradition, and customs of musical performance, and I examine the ways in which these commonalities in ideology appealed to Northern audiences. / text

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