Édouard Manet's "Masked Ball at the Opera" of 1873 shares formal and thematic relationships with Charles Baudelaire's poetry and art criticism. Although previous scholars have suggested visual sources for Manet's paintings, I argue that Baudelaire's poetry was the textual paradigm for Manet's Masked Ball. My argument considers the roles of women, masks and the danse macabre in these works as analogous in both form and content. The women in the Masked Ball parallel those in Baudelaire's poetry, such as "To a Passerby" and "The Mask," and his art criticism in The Painter of Modern Life. The women in both the image and text are constructed with oppositional concepts, words and phrases that indicate their role in nineteenth-century Paris and the many masks they wear in daily life. Next I examine the ways in which Haussmannization, the destructive reordering of Paris during the middle part of the century, presented new problems and opportunities for the artist-as-flâneur. Baudelaire's poem "The Crowds," corresponds to Manet's painting in that both use the mask as a means by which the poet/flâneur/masked ball participants assume a double-identity as they experience the spectacle of modernity as part of the crowd but distanced from it. Lastly, I argue that in the Masked Ball Manet modernized traditional danse macabre schema by conflating it with funereal attributes. Like the painting, Baudelaire's poem, "Danse Macabre," is a modernized version of the schema due to its contemporary poetic form comprising oppositional pairs, such as life/death, and thus establishing both as signifiers for the funeral of Parisian culture, specifically word and image, under Haussmannization. Ultimately, I demonstrate that the binary structures of the Manet's painting and Baudelaire's poetry develop from the same social milieu and are thus reciprocal objects that signify the prevailing cultural condition of nineteenth-century Paris. / A Thesis submitted to the Department of Art History in partial fulfillment of the requirements for the degree of Masters of Arts. / Degree Awarded: Summer Semester, 2008. / Date of Defense: March 19, 2008. / Nineteenth-Century Paris, Masquerade, Masked Ball, Opera, Binary, Baudelaire, Manet, Dance Macabre, Women In Paris, Women In Nineteenth-Century Paris, Benjamin, Crowds, To A Passerby, To A Passer-By, Haussmannization, Haussmann, Binary Structure, Masked Ball At The Opera, Women And Masks, 1873, Manet And Women, Nineteenth-Century Opera Balls, Nineteenth-Century Masked Balls, Nineteenth-Century Masquerades, Masked Balls, Poetry, Danse Macabre / Includes bibliographical references. / Lauren S. Weingarden, Professor Directing Thesis; Richard K. Emmerson, Committee Member; Adam Jolles, Committee Member.

In 1897, Massachusetts art educator Henry Turner Bailey introduced the first picture study method in a report to the Massachusetts State Board of Education. He later refined it in a series of articles published in The Perry Magazine from 1899 to 1904. This historical study examined Bailey's Picture Study Method and its formulation within the context of the then extant turn of the century aesthetic education movement. The movement was inspired by G. W. F. Hegel's idealist philosophy and translated into educational theory and practice by then Commissioner of Education William Torrey Harris. Harris's interpretation of Hegel's idealist aesthetic theory inspired Bailey's conception of his method. Bailey's method, in turn, was found to have launched the picture study movement. Seven subsequent methods of pedagogical art criticism proposed by leading art educators during Bailey's professional career are also analyzed in this study to provide context. / Bailey believed that masterpieces in painting represent ideals of beauty that embody spiritual meaning. In order to reach the spiritual, one must first train the mind to perceive the ideal content embedded within the painting and then examine the artist's means of expressing these ideas. This theory translated into a method of pedagogical art criticism that progresses through four sequential stages beginning with a child's early pre-critical development and reaching the higher spiritual faculty at the high school level. / Research concluded that Henry Turner Bailey was a key figure in the history of art appreciation education. Bailey's persistence in promoting his idealist aesthetic theory guided the picture study movement which was grounded on an idealist philosophy, supported by professionals in the field of art education, and justified by a substantial body of literature. Bailey inspired numerous art educators in the early twentieth century, and his picture study method should be recognized as a landmark method in the history of pedagogical art criticism in the United States. / Source: Dissertation Abstracts International, Volume: 55-09, Section: A, page: 2688. / Major Professor: Tom Anderson. / Thesis (Ph.D.)--The Florida State University, 1994.

A decade ago, Eisner and Dobbs (1986) conducted a study to evaluate museum education practices. The Uncertain Profession was controversial in museum education because the findings indicated fairly severe problems in the field. Among them were that there was no consensus on aims, no standards for preparation, an inadequate network of communication, insufficient staffing and resources, limited career opportunities, the perception of little political power among museum educators, and a lack of a sufficient intellectual base. / This dissertation is a follow-up study which draws on seven of Eisner and Dobbs' 20 generalizations, or findings, to examine the current state of art museum education, particularly as focused on museum-school partnerships and the influence of DBAE. The problem statement is: What changes have occurred in art museum education theories and practices since 1984 with respect to museum-school partnerships and DBAE? / Museum education directors and museum directors from the 20 museums which participated in the Eisner and Dobbs study and 12 additional museums were surveyed. It was found that standards for educating museum educators still vary, but that there have been tremendous increases in scholarly activity and theoretical models both for museum educators' training and for museum education. Networking and outreach were found to be adequate and improving. Staffing and resources are still perceived as inadequate, but museum education is increasingly empowered. Finally, there is evidence that Getty initiatives have affected teaching strategies and that there are increased museum-school partnerships possibly due to utilizing DBAE as a curriculum structure. / Source: Dissertation Abstracts International, Volume: 55-09, Section: A, page: 2688. / Major Professor: Jessie Lovano-Kerr. / Thesis (Ph.D.)--The Florida State University, 1994.

The purpose of this study was to develop a program of undergraduate art education to prepare art teachers for the Jordanian school system. Development of the program was based on the following: (a) examination of needed competencies, (b) comparative study of selected art education programs, (c) examination of art education programs in countries having socioeconomic contexts and educational systems reasonably parallel to those of Jordan, and (d) evaluation of selected course syllabi from institutions of higher learning in the United States. / Development of the program involved several stages. In the first stage, the context of art education in Jordan was examined, to establish the background of the study. This included exploration of the physical, economic, and sociocultural setting. The sub-section entitled "Problems in Art Education in Jordan" established the context in terms of the region, and those study-related characteristics peculiar to the region. The following sub-section, "Issues and Trends in Art Education," set the context in terms of the discipline. In this part, current thought and activities in the United States, Europe, the Middle East, and finally in Jordan itself, were examined. / In the second stage, "Designing the Art Education Program," the identified teacher competencies were organized into an art education curriculum of sequenced units or courses. / The third stage, "Program Implementation," explored several factors which can affect the decision of which components will be introduced. The first factor examined was the availability of human resources; the second factor was the availability of facilities; and the third factor was the cost of the curriculum components. / Source: Dissertation Abstracts International, Volume: 44-11, Section: A, page: 3250. / Thesis (Ph.D.)--The Florida State University, 1983.

Studies have been done on contemporary non-traditional quilts in the larger quilting context in Alabama (Arnett et al., 2002; Callahan, 1987), Arizona (Hazard, 1993), Arkansas (Benberry, 2000), and Kentucky (Benberry, 1992). However, from my examination of the literature no intensive study had been done on contemporary, non-traditional African American quilts in Florida. This study examined the quilts and quilting processes of three African American contemporary non-traditional women quilters in Florida. Although there are African American male quilters my focus was on women quilt artists. For this study I defined traditional quilts as those quilts that utilized long-established patterns, designs and exacting construction techniques and that were usually used as bedcoverings. Contemporary non-traditional quilts were made within the last twenty-five years for artistic purposes, did not largely consist of established patterns, and were without a planned functional use. The study explored the meaning of quilting to the quilters and the overall implications for art education. I began by exploring the general history of quilting and African American traditional quilting and ended with the more recent history of art quilts and African American art quilters. Participants were sought through a combination of online and mail-in surveys. The surveys or survey links were sent to Internet quilting groups, Florida quilting guilds, and quilt shops in an attempt to locate members of the African American quilting population in Florida. Of the quilters interested in participating in the study I selected three African American quilters based on their survey information that reflected the diversity in experience and quilting I sought. The quilters were from different areas of the state, represented different age ranges, and quilting techniques. Quilters were videotaped and photographed as I interviewed and observed them. The report takes narrative form (Eisner, 1998) and addresses themes that arose during the study as well as the research questions. / A Dissertation submitted to the Department of Art Education in partial fulfillment of the requirements for the degree of Doctor of Philosophy. / Degree Awarded: Spring Semester, 2009. / Date of Defense: November 7, 2008. / Quilting, African American Quilting, Contemporary Quilt Artists, Art Quilts, Women Artists / Includes bibliographical references. / Tom Anderson, Professor Directing Dissertation; Maxine Jones, Outside Committee Member; David Gussak, Committee Member; Pat Villeneuve, Committee Member.

The Penn State Seminar in art education is often thought to have been a major event in the field although its significance is not clear from the literature. This study was intended to increase our understanding of it through the collection and analysis of a new body of original testimony. Through the technique of oral history, interviews of people involved in the Seminar were recorded, transcribed, and then edited and approved by the contributors for inclusion in the study. These approved transcripts formed the basis of a summary of events which was then used to develop an analysis from which conclusions were drawn. / The Seminar developed from a confluence of agendas for stimulating scholarship in art education. Such scholarship was important at the time because of (a) the growth of the university model of higher education, which stressed research as a means to secure status and advancement for those involved in teacher preparation; and (b) the curricular changes in other fields which appeared to be models for similar change in art education. The two major participating institutions, Penn State and Ohio State Universities represented different orientations to scholarship and different areas of concern which are reflected in the structure of the Seminar. Individuals' ambitions and rivalries had a great impact on the Seminar. / The Seminar had little effect on teaching in the schools although it had some effect on other major projects which may now be having an impact on teaching. Teacher education was viewed as more important than curriculum reform. The subsequent rise of the idea of discipline-based art education is associated with its advocacy at the Seminar. The Seminar helped to integrate research into art education. Its major consequences were the stimulation of research and the reinforcement given to people with an interest in scholarship. / Source: Dissertation Abstracts International, Volume: 47-12, Section: A, page: 4271. / Thesis (Ph.D.)--The Florida State University, 1986.

This qualitative study examined the special characteristics of Javanese traditional art and the conditions surrounding the implementation of art appreciation programs in junior high schools in Surakarta, Indonesia. The government of the Republic of Indonesia considers art education an important part in developing students as well-rounded human beings and as one of the ultimate objectives of Indonesian education. Indonesia is very rich in traditional art of high aesthetic quality. However, as the role of the traditional arts is not as important in modern Indonesian society as in the past, contemporary Indonesian youth do not understand or appreciate the cultural values conveyed by these arts. / Based on the special characteristics of Javanese traditional art in Middle Java and the need for a methodology of teaching faced by art teachers in junior high schools, a model of art criticism was developed in this study for teaching appreciation of the Javanese traditional art called wayang beber. The city of Surakarta, Middle Java, was selected as the site for the research, as this Javanese traditional art is the major characteristic of students' cultural environment in that city. The model developed in this study has a holistic structure and incorporates information about genetic, objective, and affective elements as important factors for understanding, appreciating, and valuing works of Javanese traditional art. Developing such a model of art criticism for teaching is the major significance of this study. Another important aspect of this study is the contribution that understanding traditional art forms will make for the preservation and appreciation of Indonesia's cultural heritage. / Source: Dissertation Abstracts International, Volume: 48-02, Section: A, page: 0288. / Thesis (Ph.D.)--The Florida State University, 1987.

In this dissertation I investigate The National Museum of Anthropology (NMA) in Mexico, and the Museum of Painting and Sculpture (MPS) in Turkey to examine the important role they played in the construction and projection of a national identity that at once looked to past traditions while at the same time engaging with and aspiring to the internationalism of modernity in the mid-twentieth century. In the twentieth century, these nations shared some common features in that they were reevaluating their histories to address significant political and social changes such as the 1910 Mexican Revolution and the 1923 establishment of the Turkish Republic. These political and social transformations had an effect on the arts and arts institutions and leadership in each country made use of the arts to advance their political agenda of crafting a coherent nation that attempted to fuse competing social factions and achieving international status often times through modernization policies that were on many occasions synonymous with westernization, especially in Turkey. Despite these similarities each country faced specific, historically contingent issues and thus arrived some different responses to similar historical and political circumstances. In this dissertation I address these responses through two case studies focused a study of two major museums in each country the National Museum of Anthropology in Mexico, and the Museum of Painting and Sculpture in Turkey. First, I present the historical backgrounds of each of these museums before their establishment. Second, I examine how each deployed marked national historical tradition to craft narratives of national identity at critical moments in each of country’s engagement with modernity. Finally, while these countries read their histories in their own ways, this study creates a connection between the National Museum of Anthropology in Mexico, and the Museum of Painting and Sculpture in Turkey, to attempt to identify broader patterns of how the arts and arts institutions were used in “developing” nations during the twentieth century. / A Dissertation submitted to the Department of Art History in partial fulfillment of the requirements for the degree of Doctor of Philosophy. / Spring Semester 2018. / March 5, 2018. / Includes bibliographical references. / Michael Carrasco, Professor Directing Dissertation; Pat Villenueve, University Representative; Paul Niell, Committee Member; Kylie Killian, Committee Member.

The purpose of this study was to investigate the availability of federal funding for art in the public schools, 1958-79. This availability was investigated in two parts: (1) A history of the political and legislative events which led to the formation of the three principal arts-specific sources (Arts and Humanities Program and Arts Education Program of the U.S. Office of Education and National Endowment for the Arts) was developed. This historical investigation suggested that: (a) The political and legislative process which occurs in the formation of legislation was a culmination of many influences including events in Congressional hearings and personal interest of officials, and (b) art eductors have influenced this process; as they became more involved, support for art increased. (2) The surveys listed below were conducted: (a) FEDERAL FUNDING QUESTIONNAIRE--sent to a random sample of 272 U.S. public school principals to ascertain frequency of usage and awareness of availability. (b) FEDERAL PROGRAM COORDINATOR SURVEY--sent to a random sample of 119 district level coordinators nationwide to determine awareness of availability and person usually initiating art funding requests. (c) STATE ART CONSULTANT SURVEY--sent to all state art consultants to determine their awareness of availability of funding. / It was determined that indirect (non-arts related) sources funded art more frequently than direct sources. The frequency of funding differed according to geographical location, size of community, enrollment, and number of art teachers for the schools surveyed. Awareness of availability was uniformly high across and within groups, with the exception of some sub-groupings of principals. / Recommendations for action were given which included more political knowledge and activity for art educators, further development and coordination of information services, and grant proposals written by a team of program coordinators, principals and art personnel. / Source: Dissertation Abstracts International, Volume: 41-03, Section: A, page: 0906. / Thesis (Ph.D.)--The Florida State University, 1980.

There is considerable evidence to support the contention that artists work best under conditions that allow long, uninterrupted periods of intense concentration, and researchers have confirmed that students' progress is facilitated by these same conditions. Yet the standard system in American education, concurrent scheduling, divides the student's day into brief instructional periods for pursuing a series of unrelated subjects. An alternative to the traditional time structure is intensive education, which allows the student to focus on one topic in depth for 2-4 weeks. Such a format may offer particular advantages to art students. The most universal application of the intensive approach is during the interim term of the 4-1-4 academic calendar, which uses the month of January for innovative courses. / The purpose of this study was to determine if the attitudes of students support the hypothesis that intensive education is a viable and perhaps preferred format for visual arts courses. / The population included all students who were enrolled in intensive art courses during January 1980 at U.S. colleges and universities. A random cluster sample was drawn from all institutions which operate on the 4-1-4 academic calendar and also offer a major in art. The data collection instrument was a 32-item questionnaire designed to assess student attitudes concerning intensive and concurrent scheduling for visual arts courses. It was constructed by the researcher and had an overall reliability coefficient of .72. Characteristics of intensive art courses were determined by surveying interim term bulletins. / Frequency analysis of questionnaire data revealed that students had more favorable responses to statements concerned with intensively scheduled art courses than they did to the same statements concerned with concurrently scheduled art courses. The t test was used to determine if the differences were statistically significant, which they were for alpha = .05. The Chi Square test clarified relationships between overall attitude and individual student variables. The findings of the investigation were used to generate the following major conclusions: (1) Intensive course offerings differ substantially from those available during the concurrently scheduled semester, with the following variations being most characteristic: highly specialized course content, interdisciplinary approaches, encouragement of self-directed study, and off-campus and international travel opportunities. (2) Intensive education is considered to be a very successful alternative to traditional concurrent education and is preferred by students who have experienced both options. (3) The opportunity to concentrate in-depth on a particular topic without the distractions and time pressures brought on by other courses pursued concurrently is the greatest advantage of intensive education in the visual arts. (4) Students are not only more interested but also more motivated to learn in art courses scheduled intensively. (5) Intensive art courses are regarded by students as more valuable in terms of personal goals, needs, and educational standards when compared to art courses scheduled concurrently. (6) Students perceive their instructors to be more enthusiastic when teaching intensive courses. (7) Intensive education in art is appropriate for all students and all areas of study. (8) The intensive format is especially advantageous for art majors. / Source: Dissertation Abstracts International, Volume: 41-03, Section: A, page: 0906. / Thesis (Ph.D.)--The Florida State University, 1980.