Thesis (Ph. D.)--University of Delaware, 1982. / Includes abstract. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 402-430).

Thesis (Ph.D.)--Boston University / The dissertation covers the period when genre painting reached its height in Nineteenth Century America. In the true sense of its artistic meaning, the genre painter records everyday scenes from life in a non-historical, impersonal manner. This was the time characterized by the rise of the common man; the moment when Jeffersonian principles were furthered by the President of the people, Andrew Jackson. Now many American artists became less interested in formal portraiture and historical anecdote and more concerned in observing and recording, first hand, the everyday nuances of life around them. The greatest emphasis in the dissertation centers around various rural areas in America. William Sidney Mount paints bucolic Long Island farmers and negroes, while George Caleb Bingham depicts in paint and pen the rugged Missouri flatboatmen and frontier politicians. Homespun flavor of New England is found in George Henry Durrie's detailed snow scenes, with small figures lost within nature's expanse. Winslow Homer portrays farm life in Upper New York State, New Hampshire and Massachusetts. Maple sugar camps in Fryeburg, Maine and cranberry harvests in Nantucket comprise Eastmen Johnson's repertoire. Lastly, the romantic and mysterious genre of John Quidor reveals an artistic parallel to the writings of Washington Irving and his Knickerbocker Catskill gentry. The urban scene seemed to warrant to a lesser degree the nostalgic point of view of rural life. "City" painters at this time were fewer in number since city patrons preferred portraiture and historical painting to the recording of urban scenery. Nevertheless, a few genre recorders did emerge and viewed man as a contrived "vehicle" caught in the routine ways of the city. Richard Caton Woodville portrayed Baltimore bourgeois life with its oyster eaters and sailor weddings. In Pittsburgh, David Gilmor Blythe painted in dark tones scenes of horse markets, cobblers' shops and satirized the law courts and clergy. The final chapter of the dissertation discusses a select group of artist-explorers who observed the American Indian in his own environment. These brave men who sometimes ventured alone or accompanied government troops or fur trading companies were social commentators on the plight of America's persecuted aboriginals. George Catlin, the founder of the first Wild West Show, explored and sketched unknown tribes in the Upper Missouri-Mississippi and Southwest regions of our country. Hidden Indian encampments, forced migrations and theatric fur trade rendezvous were depicted by Alfred Jacob Miller; the soldier-painter Seth Eastman recorded candidly the life and habits of Indians in Minnesota and Wisconsin. The dissertation attempts to unite these eleven genre painters into a single volume, whereby the reader may have a clearer view of America's Golden Age of Genre Painting between 1830 and 1880 and compare their iconographical and stylistic similarities and differences. TO substantiate the above material, the dissertation includes aspects of history, politics, sociology and European artistic styles that were influential in forming the temperament, ideals and philosophies of these genre recorders. In conclusion, the author has tried to show how the American genre painter illuminated with reason, humor and frank realism the rugged American spirit upon which our country rests. He portrayed in the most photographic, yet individualistic and selective manner, the true roots of our nation - roots that dig deep into the rich and fertile soil that uncovers the strength, vigor and good-humor that constitute the American way. In a separate volume, the photostat illustrations supplement the text.

Thesis (Ph. D.)--University of Washington, 1982. / Vita. Bibliography: leaves [410]-421.

Thesis--New York University, 1973. / Includes bibliographical references (p. 179-190).

Zugl.: Hamburg, Univ., Diss., 2005

Thesis (Ph. D.)--Princeton University, 1987. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (v. 1, leaves 391-406).

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

京都大学 / 0048 / 新制・課程博士 / 博士(文学) / 甲第18438号 / 文博第651号 / 新制||文||605(附属図書館) / 31316 / 京都大学大学院文学研究科文献文化学専攻 / (主査)教授 佐々木 徹, 教授 若島 正, 准教授 廣田 篤彦 / 学位規則第4条第1項該当 / Doctor of Letters / Kyoto University / DGAM

My dissertation examines visual representations of children and childhood in French art from the 1750s until the first decades of the nineteenth century. This period in France is distinct because of the sweeping social and political changes with which images of children and childhood were in dialogue, including the redefinition of bourgeois familial relationships, new medical discoveries that influenced how artists interpreted the human mind and body, the chaos of the French Revolution, and the rise of Napoleon and his codification of the laws of nature. By 1750, Enlightenment thinkers and social reformers viewed the education, nurturing, and protection of innocent children as among the fundamental moral acts that defined humanity. Childhood, once considered insignificant, became a special period of human development that women were naturally suited to cultivate. Amidst the corruption of the Ancien régime, the violence of the French Revolution, and the instability of the state, children were unthreatening emblems of social regeneration and hope. Throughout my dissertation, I explore how the complex written and visual language of nature informed artists’ conceptions of children and childhood during the long eighteenth century. Opposing themes of nature’s wildness, containment, wholesomeness, and mysteriousness in different forms paralleled discourses on children and child-rearing. Prominent eighteenth-century artists like Chardin, Boucher, Fragonard, Greuze, Vigée Lebrun, Marguerite Gérard, and others analyzed contemporary scientific, philosophical, artistic, and pedagogical movements to depict children naturally. Even when Romantic artists like Géricault or Prud’hon imagined nature as a dangerous or mystical entity, the emphasis on the unique truthfulness of a child’s character continued to be a subject of great interest, especially when the scientific community recognized child psychology and pediatrics as their own fields of medical study in the early nineteenth century. Compared to studies that have broadly surveyed the ideologies of childhood as reflected in art, my dissertation investigates the socio-historical contexts in which representations of children were commissioned, produced, and displayed. Why did revolutionary events, artists, and patrons appropriate images of the enlightened child? I propose that representations of children from this period offer indisputable symbolic value: they functioned emblematically to advance the morality of a woman’s reputation, or to philosophically communicate an idea about the state of French society during key moments of social and political upheaval. Through a study of images of pastoral children for Madame de Pompadour, representations of bourgeois children with pets, portrayals of the royal children during the French Revolution, and Romantic depictions of children in portraiture, my dissertation traces the socio-historical implications of the representations of children and childhood to make way for new interpretations of artworks.

Thesis (Ph. D.)--Ohio State University, 2006. / Full text release at OhioLINK's ETD Center delayed at author's request