Thesis (Ph.D.)--University of Toronto, 2008. / Includes bibliographical references (leaves 209-224).

Thesis (Ph. D.)--University of California, Berkeley, 1987. / Includes bibliographical references (leaves 185-197).

No description available.

From Introduction: The reIationship between technology and art today is a logical extension of a collaborative tradition with ancient roots. The artist has always been a principal perpetrator of technological innovation. He, through the natural progression of technical means, has virtually evolved each new art form. There are many examples such as the 'lost wax' casting process, Jan Van Eycks oil paint innovations, Senefelders 'chemical printing' and Niecephore Niepce's first eight hour photographic exposures. Even woodblocks were in their time an innovation. All art uses technology of a kind and artists who prefer to remain aloof from it are in fact merely using technologies absorbed in older traditional media further back in the history of art. It is the flexibility of art to adapt to changing conditions of the world today which has spurred change and brought about a new dynamism in the graphic arts. The present intensity of interest in the print can be directly attributed to the advancement of technology and communication in this century. A whole new field of materials, methods and techniques are now available to the venturesome graphic artist and printmaker. Along with the contemporary technology dedication to expression leads naturally to innovation in aesthetics.

Submitted by Edileide Reis (leyde-landy@hotmail.com) on 2013-04-08T19:48:46Z No. of bitstreams: 1 juliane.pdf: 3242914 bytes, checksum: c60fb072a8b7c65335ecbe12ccbb6585 (MD5) / Approved for entry into archive by Lêda Costa(lmrcosta@ufba.br) on 2013-04-18T12:25:21Z (GMT) No. of bitstreams: 1 juliane.pdf: 3242914 bytes, checksum: c60fb072a8b7c65335ecbe12ccbb6585 (MD5) / Made available in DSpace on 2013-04-18T12:25:21Z (GMT). No. of bitstreams: 1 juliane.pdf: 3242914 bytes, checksum: c60fb072a8b7c65335ecbe12ccbb6585 (MD5) Previous issue date: 2011-12-07 / Jardim de passiflora: Impressões, marcas e devaneios é o título desta dissertação na linha de pesquisa de Processos Criativos. Partindo de experimentações teóricas e práticas, almejou-se realizar uma pesquisa na qual a obra fosse o objeto central de investigação, considerando o seu processo de criação e as variações que ocorreriam na sua realização. No decorrer desse processo, questões da memória e da contemporaneidade relacionadas ao conceito de imprimir foram surgindo, ao mesmo tempo que as técnicas de desenho, fotografia, gravura e cerâmica foram se entrelaçando. Os autores eleitos para dar suporte à pesquisa foram: Gaston Bachelard, Georges Didi-Huberman e Maria Celeste Wanner, entre outros. / Salvador

Japanese woodblock prints featuring foreigners that appeared after the opening of ports such as Yokohama to international trade in the mid-nineteenth century are broadly referred to as Yokohama-e (or “Yokohama Pictures”). While there are already seminal studies that document the representation of Western peoples in Yokohama-e, those of Asian peoples have not yet received equal attention. This thesis focuses on a group of prints that include the word “all nations” (bankoku) in their titles, particularly those of Utagawa Yoshiiku. Although these prints are currently considered a type of Yokohama-e, they are distinctively different from typical Yokohama-e in their scope, particularly in its inclusion of many Asian and mythical peoples. This study investigates how this group of “pictures of the peoples of all nations” (bankoku jinbutsu-zu) functioned as popular guides to the nations of the world and reflected the domestic new awareness for Japan’s role within it.

L’histoire du Cabinet des estampes de Genève et de ses collections, est un sujet aux aspects multiples. Celui-ci est fondé en 1886 pour réunir les collections de la Ville et son fonds d’estampes est évalué à cette époque à plus de 110.000 pièces, résultant d’apports successifs, ayant pour origine la collection du premier Musée des Beaux arts de la Ville et la collection de François Burillon.L’enrichissement des collections, après 1910, font aujourd’hui de ce cabinet l’un des cabinets suisses importants, avec un fonds estimé à environ 350.000 pièces dont environ 150.000 acquises après 1956 et orienté en majorité sur l’art contemporain.L’histoire d’un Cabinet d’estampes ne se résume pas à l’enrichissement de ses collections. C’est aussi l’histoire d’une institution culturelle vouée aux Beaux-arts sous ces différents aspects. Si le travail sur les collections reste la base de son activité, elle comprend également une vie au quotidien dont il est rarement fait état. C’est aussi les relations avec son public et les moyens qu’il lui donne pour accéder à ses collections, une activité qui va prendre de plus en plus d’importance et se traduit principalement par la mise en place d’expositions temporaires. / The department of prints at the Musée d‘art et d’histoire of Geneva and his collections has along and complex history. Originally founded in 1886 to bring together all works on paper owned by the City of Geneva, it was split into a prints and drawings collection by the mid 1890’s. The print collection then was attached to the former museum of applied arts until 1910 for then being integrated into the library. From 1910, i.e. the founding of the Musée d’art et d’histoire, until 1952, the print collection remained in the main museum. This year it was transferred into an adjacent building. The Cabinet des Estampes, recently designed under the name of Cabinet d’arts graphiques includes a wide range of works: some 350’000 prints and 25’000 drawings, but also ca. 400 pastels, artist’s books, multiples and photographs and a large collection of printing plates. The history of a prints room is not only dedicated to the development and management of his collections. It includes also the life of a museum under his different aspects. If the work on collections remains his principal activity, it is also the daily life, rarely mentioned, but also his relations with the public: direct access to the collections and temporary exhibitions.

This master's thesis seeks to dispel the myth that nineteenth century painter Paul Delaroche's art was either apolitical or politically conservative. Through an examination of Delaroche's portraits of the late Napoleon I in conjunction with contemporary napoleonic prints, one finds that Delaroche was, indeed, deeply involved with contemporary politics. A close examination of his portraits shows that this involvement manifested itself in support for both the Cult of Napoleon and for the Bonapartist party.

The stability of inkjet print is influenced by a lot of factors. Mutual effects of these factors accelerate the print degradation. The surrounding environment in image stability plays an important role, when the prints degrade especially by the light. The degradation of inkjet prints is presented as a decrease of dye or multiple dyes. It is necessary to know the dye concentration for the dye decrease prediction in the time. This dissertation thesis deals with the study of kinetics and changes in electron and molecular structure of digital photography prints after accelerated ageing tests. The study of resistance of inkjet prints was realized on one type of media using three different sets of inks. Changes in printed colours were measured and evaluated in calibration (by PLS calibration and least squares method). On the basis of calibration the dye decrease prediction of real samples in receiving layer was evaluated. Changes in electron and molecular structure were analysed on KBr pellets by FTIR an UV-Vis spectroscopy.

No description available.