This thesis proposes to investigate the influence of the Mexican muralists in the United States, from the Depression to the Cold War. This thesis begins with the origins of the Mexican mural movement, which will provide the background to understand the artists' ideologies and their relationship and conflicts with the Mexican government. Then, I will discuss the presence of Mexican artists in the United States, their repercussions, and the interaction between censorship and freedom of expression as well as the controversies that arose from their murals. This thesis will explore the influence that the Mexican mural movement had in the United States in the creation of a government-sponsored program for the arts (The New Deal, Works Progress Administration). During the 1930s, sociological factors caused that not only the art, but also the political ideologies of the Mexican artists to spread across the United States. The Depression provided the environment for a public art of social content, as well as a context that allowed some American artists to accept and follow the Marxist ideologies of the Mexican artists. This influence of radical politics will be also described. Later, I will examine the repercussions of the Mexican artists' work on the Abstract Expressionist movement of the 1940s. Finally I will also examine the iconography of certain murals by Mexican and American artists to appreciate the reaction of their audience, their acceptance among a circle of artists, and the historical context that allowed those murals to be created. / Master of Arts

Thesis (Ph.D.) -- McMaster University, 2001. / Includes bibliographical references (leaves 319-337). Also available via World Wide Web.

Magíster en artes, mención teoría e historia del arte / La actividad muralista en Latinoamérica constituye hoy en día una de las apuestas artísticas más reconocidas y originales del continente. Como propuesta de vida, política y arte se le ha achacado como antecedente las rupestres pinturas, incluso geo y petroglifos de los antiguos habitantes. Sin embargo, su germen nominal y moderno tendría como contexto la revolución mexicana y las transformaciones estructurales que vivió aquel país en el campo político, social y educacional. El ejercicio de la pintura en los muros y su constitución en las primeras décadas del siglo XX como muralismo y fiel representante de los ideales inspiradores de la revolución se manifestó y utilizó no sólo en un sinnúmero de edificios públicos del país centroamericano, sino que, se amplió, a su vez, con diversos sentidos, a otras latitudes al sur del continente, aliándose con las ideologías de izquierda, los cambios sociales y culturales ocurridos en varios de los países de esta parte del mundo, entre ellos Chile.

Thesis (Ph.D.)--Boston University / PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you. / This study is limited to the murals of Théodore Chassériau (1819-1856). In the brief working period of less than fifteen years (1841-1855), Chassériau painted four important murals in Paris for: the church of Saint-Merri (1841-1843); the Cour des Comptes (1844-1848); the church of Saint-Roch (1851-1853); and the church of Saint-Philippe-du-Roule (1853-1855). Much of the reputation of Chassériau during his career rested on his murals, yet in less than fifty years after his death in 1856 he became virtually forgotten as a muralist. His portraits in the style of his master Ingres and his easel paintings more in the manner of Delacroix are well known but his murals have never been stuied separately. Moreover, the preparations for the murals recently willed to the Cabinet des Dessins du Louvre have not been published. The research was done almost entirely in Paris from the remaining murals, the drawings and studies, documents in archives, church records, old graphic works, architectural plans and records, articles in periodicals contemporary with the murals, and the artist's studio notes. Although Chassériau retained the decorative style of Ingres and borrowed the color of Delacroix, the artist's notes reveal a decided interest in realism. The evolution of his mural style was in this direction. The trip to Italy in 1840 and the one to Algeria in 1846 were the turning points in Chassériau's mural style. This is supported by his notes. His first two murals depended upon the classical souvenirs of Italy and is last two reflect the sun of Africa. Most of all, starting with a cool classicism close to Ingres's in his first mural, Chassériau achieved a decorative realism in his last mural. This realism has been overlooked until now but did not go unnoticed by the artist's contemporary critics in rare and forgotten articles. The same age as Courbet, the champion of realism, Chassériau was indeed an artist of his time. Yet it was the eclectic style and the exotic nature of Chassériau that influenced Puvis de Chavannes, Gustave Moreau, and the early Degas. His mural style formed a watershed of currents that found their channels only after him. The first volume contains the text. Each mural is studied separately from the first sketch to the finished work in position. Each mural is considered in its: a. architectural position; b. iconography; c. drawings and studies; d. formal elements; e. nineteenth-century criticism; f. summary. The second volume contains 210 black and white photographs. These cover the murals with several details but the greater number are of the drawings and studies along with architectural plans, diagrams, and reproductions of lost works taken from old prints. In addition, there are eight compositional studies by the author, two for each major mural . There are also two drawings by the author reconstructing for the first time the position and the iconography of the fifteen panels for the grand staircase of the Cour des Comptes burned in 1871. / 2031-01-01

王静芬. / Thesis (M.A.)--香港中文大學硏究院藝術學部. / Reprint (c. 2-3). / Includes bibliographical references (leaves 376-411). / Wang Jingfen. / Thesis (M.A.)--Xianggang Zhong wen da xue yan jiu yuan yi shu xue bu. / 前言 --- p.i / 圖版目錄 --- p.v / Chapter 第一部份： --- 彌勒信仰及《彌勒經變》通論 --- p.1 / Chapter 第一章 --- 彌勒信仰 --- p.2 / Chapter 一 --- 彌勒信仰的內容 / Chapter 二 --- 中國彌勒信仰的特質 / Chapter 第二章 --- 《彌勒變》的源流 --- p.53 / Chapter 第三章 --- 有關《彌勒變》的文獻資料 --- p.99 / Chapter 一 --- 《彌勒變》的成立年代 / Chapter 二 --- 《彌勒變》的文獻記載 / Chapter 第二部份： --- 敦煌的《彌勒經變畫》 --- p.132 / Chapter 第四章 --- 隋代的《彌勒變》 --- p.136 / Chapter 第五章 --- 唐前期的《彌勒變》 --- p.174 / Chapter 第六章 --- 唐後期及曹氏畫院時期的《彌勒變》 --- p.251 / Chapter 第七章 --- 莫高窟壁畫以外的敦煌《彌勒變》資料 --- p.325 / 結論 --- p.367 / 書目 --- p.377 / 附表一；各期《彌勒變》的統計 --- p.413 / 附表二：存《彌勒變》的紀年窟 --- p.414 / 附表三：已發表 《彌勒變》的揭載圖版 --- p.416 / 附表四：存《彌勒變》各窟主要壁畫題材 --- p.419 / 附表五：各種經變統計對照表 --- p.434 / 圖版

Os objetos de estudo do presente trabalho de dissertação de mestrado são as pinturas murais produzidas ao longo do período de permanência do sistema político ditatorial do Estado Novo com principal incidência sobre as obras que se encontram no centro da cidade do Porto e que abrangem uma baliza cronológica entre 1944 e 1962, tornando-se o nosso desígnio, compreender a pintura mural nas suas circunstâncias técnicas e históricas como reflexo do modernismo nacional. Recorremos à problematização do conceito de modernismo português, para a compreensão do próprio contexto. Abrangendo um estudo de fontes, debruçamo-nos também sob diversas formas de expressão artística adotadas na época, como a arquitetura, a escultura e a pintura pelo principal motivo que estas são demonstrativas do reacender da integração de todas as artes num mesmo projeto criativo, como forma de valorização, readaptando os hábitos artísticos, das épocas áureas da história da arte. Paralelamente foi criado um roteiro de localização das pinturas murais no Estado Novo na cidade do Porto. Este foi registado e acompanhado por um minucioso levantamento fotográfico, levantamento do estado de conservação e principalmente determinação in situ das técnicas de produção artística aplicadas por cada pintor responsável pelas obras identificadas. Concluímos que a intenção de projetar o modernismo em Portugal tem sido interpretada de diversas formas consoante os autores. Concluímos, também, que a procura, na época, de práticas corretas da produção artística dos frescos e a correta utilização das suas nomenclaturas não foram totalmente concretizadas.

Thesis (M. Phil.)--University of Hong Kong, 2007. / Title proper from title frame. Also available in printed format.

Thesis (Ph.D.)--University of Delaware, 2007. / Principal faculty advisor: Michael Leja, Dept. of Art History. Includes bibliographical references.

Thesis (M.F.A.)--Rochester Institute of Technology, 1966. / Bibliography.

"Einige Abschnitte dieses Buches lagen ... 1926 der Universität Leipzig als Dissertationsschrift vor."--Vorwort. / "Verzeichnis der wichtigsten Literatur": p. 95-96.