Berlin, FU, Diss., 2005.

Thesis (Ph. D.)--University of Texas at Austin, 2001. / Vita. Includes bibliographical references. Available also from UMI/Dissertation Abstracts International.

Thesis (M.F.A.)--West Virginia University, 2003. / Title from document title page. Document formatted into pages; contains vi, 25 p. : ill. (some col.) Vita. Includes abstract. Includes bibliographical references (p. 22).

Zugl.: Berlin, Freie Univ., Diss., 2005

Undergraduate honors paper--Mount Holyoke College, 2008. Dept. of Art and Art History. / Includes bibliographical references (leaf [13]).

Thesis (Ph. D.)--New York University, 1979. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 235-251).

Techn. Universiẗat, Diss., 2004--Darmstadt.

An important body of literature has accumulated (both primary and secondary sources) which necessitates that Rothko, Newman and Still be placed in the tradition of the sublime. In attempting this task, a background is established by a detailed summary of classical theory of the sublime in Longinus, Burke, Kant, and Nietzsche, followed by detailed summaries of major recent sublimist theory by Weiskel, Crowther, Lyotard, and Ferguson. Also, key ideas of Sartre and Jung are treated in order to round out the proper ideational context for a sublimicist analysis of these three painters. From this foundation, a working theory of the sublime is developed. Next, the painters' crucial theoretic statement are analysed for their relevance to the sublime, and their programs and specific works are characterized in relation to theory of the sublime, and in relation to their treatments in criticism. The last two chapters treat two crucial contexts in which Rothko, Newman and Still are situated: The historically accumulated American tradition of the sublime in art and literature; and the general European context of modernism and postmodernism. Throughout the study, it is argued that various kinds of transcendence validate a set of various major modes of the sublime: The ideational, religious, moral, Burkean-Gothic, Kantian, Nietzschean, romantic, existential, Jungian-mythic, ontological, noble, and the sublime of light/color, along with negatives modes such as the comic, the ironic, the counter, the mock, and the merely rhetorical. It is argued, finally, that sublimicism will continue to be attractive for conservative, moderate, and radical points of view, that theory of the sublime has on-going power and validity into the future, and that between positive and negative modes, the positive will probably continue to dominate.

This study concerns the deliberate subordination in painting of thirteen art elements and principles, the primary pictorial features, and examination of the intervals between pictorial events, the pictorial interface. A written record was kept of the artist's observations and impressions during the making of ten nonobjective paintings and their later study. The artist selected five paintings as more successfully subordinating the primary pictorial features and three paintings as most successfully exhibiting the three characteristics determined for the pictorial inter face: (1) conceptual resonance, (2) ambiguity, and (3) unbiasedness. The three paintings selected as most successfully exhibiting the characteristics of the pictorial interface coincided with three of the five paintings selected as more successfully subordinating the primary pictorial features.

Project (M.F.A.) - Simon Fraser University, 2005. / Project (School for the Contemporary Arts) / Simon Fraser University. Also issued in digital format and available on the World Wide Web.