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M.Tech. / This research investigates how private, urban gardens in Johannesburg can be regarded as self representations under the ambit of visual culture. Based on the premise that private, urban gardens represent sites where subjective and cultural realms intersect, I employ discourse analysis based on a qualitative, interpretative paradigm to formulate a frame useful to an investigation of gardens. The frame is applied to two private, urban gardens in Johannesburg created by Jean Patchitt and Karel Nel. They are drawn from a single socio-economic class in order to reveal differences in the culturally constructed identities of the gardeners. I use the frame to examine artworks by artist and gardener Nel and artworks comprising my practical research, where gardens form the subject matter, to a similar end. Utilising a phenomenological approach, I argue that since gardens and artworks rely on sensory-perceptual experiences, an aesthetic that negotiates differences in value and pleasure informed by culture plays a determining role. By exploring the link between gardens and artworks as part of a larger signifying practice, my research contributes to the discourse of visual culture in general and to a South African context in particular.

Submitted in partial fulfillment of the requirements of the degree of Master of Technology: Fine Art, Durban University of Technology, Durban, South Africa, 2015. / This dissertation sets out to investigate the interpretation of the garden in the work of Marianne North (1840-1926), Claude Monet (1840-1926) and Ian Hamilton Finlay (1925-2006) and my art practice. The garden has historically been a site for man’s interaction with nature and has been the subject of interpretation by Fine Art and Botanic artists throughout history. Marianne North’s (1830-1890) interpretation of the garden is positioned somewhere between Victorian flower painter and Botanic artist. An intrepid traveller, she could be considered as a topographical artist in that she documented the gardens and the flora and fauna of the countries she visited. The focus is on her visit to South Africa in 1883. Claude Monet (1840-1926), in his late Impressionist interpretation of the garden, focused on the seasonal play of light on his Japanese inspired garden at Giverny. Artist and poet Ian Hamilton Finlay (1925-2006) in his interpretation of his garden Little Sparta, acknowledges the transience of the garden and its constant metamorphosis. His three dimensional poetry in the form of inscribed rocks and sculptures reflects his interpretation of the garden as a location of contestation. In an exhibition titled Hortus Conclusis I explore the fragility of the garden through the use of porcelain as a metaphor for the transience of life. / M

During his eight-year Italian sojourn (1600-1608), Sir Peter Paul Rubens became familiar with villeggiatura, a form of villa life (unique to Italy) modeled on the antique garden. Rubens' experience was personal, for a close examination of a select number of his works demonstrates that he fully assimilated this humanistic tradition. He participated in the intellectual currents of his time, the source of ars hortulorum. In his pictures, Rubens took over forms found in gardens of antiquity, the Renaissance or the Baroque and, in certain instances, recreated the mood, function and sense found in these gardens and as described by literary works. Most important, Rubens' own life of villeggiatura is clearly made evident in several of these paintings. / His preference for the humanistic hortus over the garden traditions of other countries reveals Rubens' admiration, shared with other humanists for the ancients and their culture which provided personal models for poise and enlightenment. / The result of this study focuses on a new dimension to our understanding of Rubens' oeuvre, his involvement with villeggiatura and the ars hortulorum.

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Thesis (M.F.A.)--Rochester Institute of Technology, 2007. / Typescript. Includes bibliographical references (leaves 20-26).

Mémoire (M.A.)--Université du Québec à Chicoutimi, 1996. / "Communication de recherche présentée pour l'obtention du grade de maître es arts (M.A.)" CaQCU Document électronique également accessible en format PDF. CaQCU

This thesis is comprised of a series of paintings that study historical representations of styles, forms and symbols found in gardens. It is less a research project into the history, meaning, and rules of these different gardens throughout time and more of an appreciation, appropriation and reinvention in fantastical form. There is no attempt in these paintings to represent objects or things that exist in the physical world, but instead a desire to create a new fantasy world. The image of ‘garden as paradise’ has been part of our human mythos for a very long time. The image of ‘garden of eden’ appears in the old testament of the Bible. There was a similar early image of ‘garden as paradise’ in Zoroastrian beliefs in ancient ‘Persia’. / Master of Architecture

Thesis (M.F.A.)--Otago Polytechnic, 2008. Includes bibliographical references. / Thesis typescript. Supervisors: Adrian Hall, Michele Beevors. Otago Polytechnic department: School of Art. "October 2008." Accompanied by a website of the exhibition of the author's artistic.

Orientador: Lúcia Eustáchio Fonseca Ribeiro / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-22T15:22:03Z (GMT). No. of bitstreams: 1 Venturini_RacheldeCastro_M.pdf: 6049730 bytes, checksum: f0134aea73d73c6237ae3ad68877e47e (MD5) Previous issue date: 2013 / Resumo: A pesquisa aqui apresentada busca o entendimento, sob o ponto de vista das Artes Visuais, do processo criativo dos recintos expositivos pertencentes à exposição "O Caminho da Serpente". Sediada na Fundação Parque Zoológico de São Paulo (FPZSP), essa mostra é direcionada para a manutenção e exposição da população de serpentes pertencente à Fundação. Contudo, o seu objetivo não se limita a apresentar ao público espécimes nativos e exóticos em um cenário "bonito" e, sim, construir um ambiente propício ao bem-estar dos animais, bem como a vivências que resultem na educação ambiental e no vínculo positivo do visitante com as serpentes. Dentro desse projeto expositivo abrangente, encontra-se o objeto de estudo: o processo de criação coletivo e multidisciplinar de ambientações realistas, fundadas na representação de um habitat selvagem, e destinadas à manutenção e exposição de um ser vivo. E considerando que a pesquisa está imersa em um contexto de interface entre áreas, abarcando a criação em artes visuais, bem como o universo dos zoológicos, optou-se por abordar e discutir esse mesmo objeto, a partir de um elemento que sempre se manteve como campo propício de englobar a criação, identificado como mediador de ambos os universos e constantes em todo o processo: a paisagem / Abstract: The research presented here seeks to understand, under the point of view of the Visual Arts, the creative process of exhibition venues belonging to the exhibition "O Caminho das Serpentes". Headquartered in the Zoological Park of São Paulo, this show is directed to the maintenance and exposure of the population of snakes belonging to the Foundation. However, its goal is not limited to present to the public native and exotic specimens in a "beautiful "scenario, and yes, build an environment favorable to the welfare of animals, as well as the experiences that result in environmental education and the positive bond of the visitor with snakes. Within this extensive exhibition project, is object of study: the processes of creating collectives and multidisciplinary realistic ambientations, based on the representation of a wildlife habitat and designed to the maintain and exposure of a living being. And considering that research is embedded in a context of interface between areas, encompassing the creation in visual arts as well as the world of zoos, it was decided to address and discuss the same subject, from an element that always kept as favorable field to encompass creation, identified as a mediator of both universes and constant throughout all process: the landscape / Mestrado / Artes Visuais / Mestra em Artes Visuais