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Thesis (Ph. D.)--New York University, 1974. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 113-125).

陳蓓. / "2002年12月". / 論文(哲學碩士)--香港中文大學, 2002. / 參考文獻 (leaves 256-273). / 附中英文摘要. / "2002 nian 12 yue". / Chen Bei. / Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2002. / Can kao wen xian (leaves 256-273). / Fu Zhong Ying wen zhai yao. / 論文提要 --- p.i / 圖版目錄 --- p.vii / 緒論 --- p.1 / Chapter 第一章 --- 生平及藝術活動 --- p.8 / Chapter 第一節 --- 蘇州時期（1894-1924) --- p.8 / Chapter 一、 --- 家學淵源 --- p.8 / Chapter 二、 --- 從私塾到學堂 --- p.12 / Chapter 三、 --- 望族結合 --- p.14 / Chapter 第二節 --- 藝壇地位的確立(1924-1949) --- p.15 / Chapter 一、 --- 藝術活動與交遊 --- p.16 / Chapter 二、 --- 收藏與鑑定 --- p.21 / Chapter 三、 --- 藝術教育 --- p.24 / Chapter 第三節 --- 藝壇地位的下沉（1949-1968 ) --- p.28 / Chapter 一、 --- 文藝方針 --- p.28 / Chapter 二、 --- 藝術活動 --- p.33 / Chapter 三、 --- 政治運動 --- p.38 / Chapter 第二章 --- 藝術歷程´ؤ´ؤ山水畫分期 --- p.54 / Chapter 第一期 --- 兼收並蓄（一九一零年代至二十年代中期） --- p.55 / Chapter 一、 --- 清末民初藝術潮流 --- p.55 / Chapter 二、 --- 師承江南山水畫傳統 --- p.58 / Chapter 第二期 --- 追綜正統（二十年代中期至三十年代中期） --- p.60 / Chapter 一、 --- 追宗董其昌 --- p.62 / Chapter 二、 --- 上溯元四家 --- p.63 / Chapter 第三期 --- 南北融合（三十年代中期至五十年代） --- p.65 / Chapter 一、 --- 初探北宗 --- p.66 / Chapter 二、 --- 南北結合、借古開今 --- p.67 / Chapter 第四期 --- 政治藝術（五十年代以後） --- p.70 / Chapter 一、 --- 集古的延續 --- p.71 / Chapter 二、 --- “標準´ح藝術 --- p.72 / Chapter 第三章 --- 吳湖帆山水畫的特色 --- p.80 / Chapter 第一節 --- 筆筆入古 --- p.81 / Chapter 一、 --- 山水畫“仿古´ح的傳統 --- p.81 / Chapter 二、 --- 母題的運用 --- p.83 / Chapter 三、 --- 筆法的結合 --- p.85 / Chapter 第二節 --- 色籠墨染 --- p.89 / Chapter 一、 --- 設色山水的傳統 --- p.89 / Chapter 一、 --- 重現唐宋青綠 --- p.90 / Chapter 二、 --- 色墨交融 --- p.92 / Chapter 第三節 --- 煙雲供養 --- p.95 / Chapter 一、 --- 傳統山水畫中的煙雲 --- p.95 / Chapter 二、 --- 煙雲山水 --- p.98 / Chapter 第四節 --- 詞意山水 --- p.100 / Chapter 一、 --- 詞與畫 --- p.100 / Chapter 二、 --- 詞意山水 --- p.101 / Chapter 第四章 --- 緊守傳統´ؤ´ؤ吳湖帆的畫學思想 --- p.112 / Chapter 第一節 --- 傳統文化的守護 --- p.112 / Chapter 一、 --- 傳統文化的守護 --- p.112 / Chapter 二、 --- 傳統藝術的守護 --- p.116 / Chapter 第二節 --- 吳湖帆的畫學思想 --- p.120 / Chapter 一、 --- 畫史觀 --- p.121 / Chapter i. --- 追本溯源 --- p.121 / Chapter ii. --- 正統觀念 --- p.124 / Chapter iii. --- 南北宗論 --- p.125 / Chapter iv. --- 文人畫觀 --- p.128 / Chapter 二、 --- 創作觀 --- p.132 / Chapter i. --- 工具、功夫 --- p.132 / Chapter ii. --- 緊守系統 --- p.134 / Chapter iii. --- 筆精墨妙 --- p.136 / Chapter 第三節 --- 對時代藝術潮流的回應 --- p.138 / Chapter 一、 --- 檢視傳統的利弊 --- p.139 / Chapter 二、 --- 當下畫壇的評論 --- p.141 / Chapter 三、 --- 現代中國畫的路向 --- p.143 / 結語 --- p.150 / 附錄一吳湖帆生平年表 --- p.159 / 附錄二吳湖帆山水畫作品著錄 --- p.179 / 參考書目 --- p.256 / 圖版第一章圖版 --- p.274 / 第二章圖版 --- p.280 / 第三章圖版 --- p.312 / 結語圖版 --- p.339

Thesis (Ph. D.)--New York University, 1991. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 528-555).

This thesis is concernedw ith artists' representationso f the English landscape and rural scenery from the last decade of the nineteenth century up to the outbreak of war in 1914. While isolated aspects of the period in relation to landscape painting have been explored in the form of individual monographs and exhibition catalogues, there have been no overall studies. Equally there has been no sustained attempt to examinet he closei nterconnectionsb etweend epictionso f the rural, and experiences of modernity and the urban that characteriseth ese years. As a result there has been no opportunity to explore the different and complex ways in which ideals of Englishness were negotiated over time amongst a diverse group of painters. This thesis is a contribution to a debate which has emerged in other disciplines and in work within other art historical periods, an investigation of the role of paintings, their public reception and critical interpretation, in the context of the contemporary production and reinforcement of ideas about race, national identity and the construction of native traditions. The paintings discussed here of Stott, Clausen, Steer, John, Knight, Tuke, Gore, Spencer and Nash have all been selected because in different ways, they exemplify the diverse strands of the debate about Englishness around turn of the century. In order to engage properly with the broader effects of these representations, this thesis explores related areas of enquiry about the significance of ruralism and the countryside, as they have emerged in social and rural history, cultural studies, as well as current investigations in the fields of cultural geography and the study of tourism. These areas establish the centrality of ideas about the rural as a focus for unity and order, and as a site upon which imaginative solutions to the problems of modernity could be developed, in ways that have been left out of art historical accounts of the period as a whole. A fundamental aim here is the study of the cumulative effects, by 1914, of a consistent commodification of the countryside and of its populations by and for urban spectators.

Research Doctorate - Doctor of Philosophy (PhD) / How do Anglo-Australian artists paint themselves into the landscape with relevance and integrity, in spite of our complicated history? How do we submit to our own ‘small narratives’ and express an experience of land which considers but is not muted by postcolonial dialogues? How do individual artists form a visual language respondent to place and instructed by creative chance? The painting studio is where these questions are raised and where formal problems arise. Disparate ideas are tested in the search for marks and images to build an ambiguous sensation of place. Reflection, doubt, and wonder are the forces behind the paintings, but landscape is the sustaining narrative, and the inquiry is personal, equivocal. A remote valley on the Ellenborough River forms the back-ground to the current body of work, but my practice has taken me to desert communities during the past decade. Living and working in these environments where Indigenous artists paint without inherent effort, immersed in their big narratives of country, our choice to paint landscape is a continual challenge. Regular field trips to the valley and visits back to the desert, immersion in the patterns and phenomena of land, issues of belonging, impermanence and nostalgia have driven this investigation. The almost anachronistic studio practice results in an exhibition of on-site drawings and painted landscape memoirs. In the exegesis I examine my work through the prism of paintings by Indigenous artists from Haasts Bluff and Milikapiti. Non-Indigenous artists who engage with issues of landscape in a contemporary Australian context are also investigated, with a focus on cross-cultural dialogues, collaborations and formal painterly responses.

Research Doctorate - Doctor of Philosophy (PhD) / How do Anglo-Australian artists paint themselves into the landscape with relevance and integrity, in spite of our complicated history? How do we submit to our own ‘small narratives’ and express an experience of land which considers but is not muted by postcolonial dialogues? How do individual artists form a visual language respondent to place and instructed by creative chance? The painting studio is where these questions are raised and where formal problems arise. Disparate ideas are tested in the search for marks and images to build an ambiguous sensation of place. Reflection, doubt, and wonder are the forces behind the paintings, but landscape is the sustaining narrative, and the inquiry is personal, equivocal. A remote valley on the Ellenborough River forms the back-ground to the current body of work, but my practice has taken me to desert communities during the past decade. Living and working in these environments where Indigenous artists paint without inherent effort, immersed in their big narratives of country, our choice to paint landscape is a continual challenge. Regular field trips to the valley and visits back to the desert, immersion in the patterns and phenomena of land, issues of belonging, impermanence and nostalgia have driven this investigation. The almost anachronistic studio practice results in an exhibition of on-site drawings and painted landscape memoirs. In the exegesis I examine my work through the prism of paintings by Indigenous artists from Haasts Bluff and Milikapiti. Non-Indigenous artists who engage with issues of landscape in a contemporary Australian context are also investigated, with a focus on cross-cultural dialogues, collaborations and formal painterly responses.

Thesis (M.A.)--Ohio University, August, 2007. / Title from PDF t.p. Includes bibliographical references.

Thesis (M. Phil.)--University of Hong Kong, 2008. / Also available in print.

Thesis--Heidelberg. / Vita. Includes bibliographical references (p. 170-196).