No description available.

No description available.

Focusing on the prints of Edgar Degas, Mary Cassatt and Camille Pissarro, my dissertation explores the development of the belle épreuve, or the fine print, in relation to the Impressionist movement. I firstly consider the commercial tactics of the Impressionists in the face of the evolution of the modern art market and the decreasing relevancy of the Salon and expound on previous scholarship by demonstrating how the Impressionists' modes of presentation proved especially conducive to showcasing works on paper and how we might apply observations about the speculative nature of the Impressionists' formal innovations to their prints. Additionally I highlight contemporaneous observations about the heterogeneity of the Impressionist exhibitions that reveal meaningful insights into the nineteenth-century perception of the artists' relationships to each other, thus questioning the tendency to divide the exhibitors into two groups, the Degas-led realists and the Monet-led colorists. Then I consider the printmaking practices of Degas, Cassatt and Pissarro individually, elucidating how each artist's attitudes toward work, craft and business manifest formally in a small selection of examples from their printed oeuvres intended for exhibition or publication. Among the core members of the Impressionist group, Degas, Cassatt and Pissarro represented those most enamored with printmaking, even collaborating to create prints for a never-realized journal during the winter and spring of 1879 and 1880. I posit that the artists' shared compulsions for regular work, fascination with artistic processes, technical flexibility and curiosity and forward-thinking disregard for the traditional hierarchy accorded to media rendered them particularly suited for making rarified, laborious prints. A final factor that connects Degas, Cassatt and Pissarro is that all three artists had complicated relationships with the business of art or the need to sell. The dichotomy of art making versus art marketing manifested itself in their prints. While printmaking as a process implies multiple pulls of an original image for commercial reasons, by emphasizing handicraft through idiosyncratic techniques, Degas, Cassatt and Pissarro accentuated the artistry and labor of their prints. Because of the complicatedness of their practices, printmaking did not turn out to be particularly lucrative for any of them, yet the artists' efforts correlate to a concurrent vogue for intimate exhibitions and works, in terms of both size and technique, and Degas, Cassatt and Pissarro seemingly undertook printmaking with the progressive clientele already established for Impressionism in mind. I thusly connect my discussions of biography and personality to a consideration of Impressionism's relationship to the changing art market of the late nineteenth century, in which facture, as a record of artistic temperament, became a sought-after commodity for collectors of avant-garde art. Despite superficial differences with regard to their subject matter and approaches, an examination of Degas, Cassatt and Pissarro's printmaking practices reveals the assumed draftsmen and the colorists of the New Painting as kindred spirits, for whom the how of art-making proved just as significant as the what and for whom marketing was important but making was vital. The artists' uses of combinations of etching, softground, drypoint and aquatint demonstrates concerns for both design and tone, and each artist accordingly strove to achieve in their prints a balance of personal sensations and decorative artifice.  / Art History

This thesis supports the Master of Fine Arts exhibition at the Slocumb Galleries in Ball Hall at East Tennessee State University, from February 23rd through February 27th 2009. The exhibition is comprised of eight graphite drawings, one ink drawing, eight vinyl prints, two hundred sixty lenticular prints, over fifty digital inkjet prints, and one video installation. The exhibition presents the artist's exploration into using drawings and prints as installation as they relate to quantum physics and universal scale. Subjects discussed, on a project-by-project basis, include thought, ideas, methods, influences, and process by which the work in the exhibition was achieved.

No description available.

The thesis is a study of a traditional popular art form of China known as New Year Pictures. Although the production of these woodblock printed images virtually ceased early this century, the relevance of this art form in contemporary China has continued. The New Year Picture is often hailed as a prototype for modern forms of visual expression. A renewed interest in this old art form has also prompted widespread conservation of the New Year Picture at the same time as making it the subject of scholarly pursuit. This study evaluates the relevance of New Year Pictures to contemporary art and society by focussing on prints produced in the period spanning the century from 1842 to 1942. This period is definitive of the changes that occurred within the popular art form. The year 1842 marks the end of the Opium War with Britain and the signing of the Treaty of Nanjing, permanently changing China’s international relationships. This, in turn, impacted greatly upon Chinese society and culture. The 1942 was the year of Mao’s “Talks at the Yan’an Conference on Literature and Art”. In mapping out strategies for artists to participate in the communist transformation of Chinese society, the “Talks” articulated an approach to Chinese art and culture that would permanently alter the way in which artistic traditions were to be utilised, both in a practical way and in the sense of how the past was to be perceived.

The museum field has changed dramatically in the past thirty years, shifting from museum staff collecting anything and everything to staff collecting with a narrow focus defined within a museum’s collection plan. Today’s museum professionals are faced with a backlog of collection problems such as works that do not fit within the museum’s mission statement, unaccessioned works and a lack of storage due to the overzealous collecting of previous generations. Many museums are now attempting to deal with the problems left by past staff members by going through the collection, piece by piece, and making decisions which shape the collection to better reflect the image of the museum today. I addressed this problem with one collection, the Martin S. Ackerman Foundation Collection, at VCUarts Anderson Gallery at Virginia Commonwealth University in Richmond, VA. This project consisted of locating and inventorying the collection as well as documenting the works to prepare for possible accession into the Anderson Gallery permanent collection. This paper addresses the challenges and outcomes of my collection survey, while providing a model for others to follow in dealing with decades of collections buildup.

Diploma thesis with the topic Illustration cycle in print called Pán rady (1505) deals with issue of illustration in old printed books, but also in wider perspective with text, its history and its mediation via manuscripts and print. Art-historical background of the author is combined with informations from other disciplines like library science, history of literature and history. As woodcuts are known as an import from Strassbourg, formal analysis is focused on finding paralels in local illustrated books production. Surprisingly one of the models used for woodcuts is copperplate by Dutch engraver known as Master FVB. There are several specifics when iconography of woodcuts is concerned. In the first place are all the allegorical figures depicted as male - despite the fact that in most other artworks is Fortune and other figures traditionally shown as female. Other interesting aspect is lack of female element on the illustrations at all, with one exception where depicted woman is most likely prostitute. This can be explained as an awareness of the strict morals utraquistic townsmen in Prague. There are quite a few parallels with contemporary tendencies in this sort of moralising literature and its influence on art. Illustrations from Pán rady are preceding popular protestant imaginary warning from...

Gunshot primer residue (P-GSR) is released from the openings of a firearm when it is discharged12,13. P-GSR is made of microscopic particles that are considered characteristic of being derived from firearm ammunition when composed of barium (Ba), lead (Pb), and antimony (Sb) and have the correct morphology4. Morphology describes the shape of the P-GSR particle, which can be spherical, irregularly shaped, and must be non-crystalline. Forensic labs are commonly requested to test for the presence of P-GSR on evidential items, such as hands, clothing, vehicles, and gloves, in order to provide circumstantial evidence showing that they were, in some way, possibly involved with a shooting. Occasionally these evidential items are also expected to undergo fingerprint processing to potentially link someone to a crime. Latex gloves are often utilized in the commission of a crime with the impression that fingerprints cannot be left behind, however latent prints can often be developed on this non-porous material. Due to the evidential value of fingerprints and in order to ensure that potential prints are not damaged during P-GSR collection, latent print development is routinely performed first. Considering that P-GSR particles are easily dislodged, it is possible that some loss of P-GSR may occur during latent print processing. The purpose of this study was to evaluate the effect of processing a non-porous item for latent fingerprints on the subsequent recovery and detection of P-GSR. Latex gloves were worn during the discharge of either a pistol or a revolver and then processed for latent prints by undergoing cyanoacrylate fuming followed by either white powder or yellow dye. The latex gloves were then sampled for P-GSR using aluminum stubs containing an adhesive coating which were dabbed over the gloves until they loss their tackiness. The stubs were then carbon coated using a Denton Vacuum Desk IV in order to prevent charging in the analytical instrument. Utilizing a JEOL JSM-6460LV Scanning Electron Microscope (JEOL USA Inc., Peabody, MA coupled with an EDAX Apollo X Analyzer (EDAX Inc., Mahwah, NJ) and EDAX Genesis GSR Software, the stubs were processed for three-component particles characteristic of P-GSR. It was determined that P-GSR can still be recovered on latex gloves after undergoing latent print processing involving cyanoacrylate fuming followed by either white powder or yellow dye processing. Three-component particles were found on both the interior and exterior of the latex gloves after being processed for latent prints. On average, 33 P-GSR particles were found on the exterior of the gloves and four P-GSR particles were found on the interior of the gloves. Although significantly less were found on the interior of the gloves (<10), it is recommended that both sides of gloves be stubbed when collecting P-GSR for the greatest chances of collecting three-component particles if they are in fact present on a pair of gloves. Although more particles were found on the gloves that were not processed for latent prints, a sufficient number of particles (≥3 particles) were consistently found on the latex gloves after undergoing latent print processing to provide a positive P-GSR result according to the Massachusetts State Police Crime Lab guidelines for P-GSR analysis. Therefore, this research shows that latex gloves can first be processed for latent prints and then subsequently be processed for P-GSR effectively in order to try and obtain both forms of evidence for a case.

As manifestações culturais e artísticas surgiram no setor têxtil ainda nos primórdios da humanidade, utilizando-se, desde então, de pigmentos vegetais, e criando uma verdadeira aliança entre o ser humano, a natureza e o mundo do desenho. A moda retrata aspectos do vestuário desde o início da história do homem até a atualidade, relatando a estreita ligação com as tendências globalizadas. A moda, enquanto conseqüência do mundo econômico, reflete os acontecimentos sociais, culturais, políticos, econômicos e ambientais. O presente estudo visa a introduzir os conceitos estruturais a respeito da cor, desde a sua definição até a ilustração dos ícones aos quais está associada. Introduz ainda a estamparia, que é das mais exigentes técnicas têxteis, e também a que mais se aproxima da Arte, indicando sua origem, fontes de inspiração, os diversos processos de fabricação e sua aplicação, desde os processos manuais até os digitais. Esta pesquisa versa sobre a importante e estratégica etapa de Pesquisa de Tendências, através de várias fontes, principalmente a Internet, a seleção de produtos junto aos vários profissionais, e, finalmente, o desenvolvimento de produtos têxteis nas fábricas, a necessidade de utilização de todo o maquinário disponível na tecelagem, na tinturaria e na estamparia. / Cultural and artistic demonstrations started in the textile sector at the very beginning of humankind, creating a alliance between the human being, nature and the world of design. They outline fashion and have displayed features of clothing since the early ages, telling the strong connection with world trends. Fashion is a reflexion of social, political, economical (and currently environmental) events, as a consequence of the economic world. The present research aims to introduce the structural concepts of color, from its definition to the illustration of the icons to which it is associated. It also introduces prints, which is one of the most demanding textile techniques, and is also the closest to art, demonstrating sources of inspiration, several manufacturing processes and applications, from manual to technological processes. It shows the import and strategic stage of trends research, from several sources, mainly by internet; the selection of products along several professionals and, finally the development of textile products in the factories a requirement of the use of all available machinery weaving as well as coloring and printing.