Thesis (M.F.A.)--West Virginia University, 2005. / Title from document title page. Document formatted into pages; contains vi, 30 p. : ill. (some col.). Includes a video file in the QuickTime format. Includes abstract. Includes bibliographical references (p. 30).

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Burford discusses his development as a painter while earning his MFA at the University of Iowa. He emphasizes that he wanted to paint in a style understandable to layman and critic alike and came to be known as a figurative artist. Three black and white photos of the oil paintings laid in. The two paintings "Circus workers" and "Reclining figures" depict African American men, the third "Vigilantes" shows two hooded Ku Klux Klan-like figures.

Thesis (M.F.A.)--West Virginia University, 2000. / Title from document title page. Document formatted into pages; contains iii, 21 p. : col. ill. Vita. Includes abstract. Includes bibliographical references (p. 9).

Thesis (M.F.A.)--Rochester Institute of Technology, 1993. / Typescript. Includes bibliographical references (leaf 24).

This diploma thesis deals with the issue of intermediation of abstract art in gallery education programs for primary school students. Its theoretical part outlines the process from figurative to non-figurative imaging through the theory and history of art. The term of abstraction is further expounded by general and developmental psychology. The final theoretical part deals with the intermediation of art and all its connections, including potential difficulties which can occur. The empirical part contains a research with gallery lecturers, which brings and analyzes their attitude to the process of gallery-educational programs providing intermediation of non-figurative art to pupils of younger school age.

Although the earliest known literary evidence for a dual-sexed divinity on Cyprus dates to the fifth century BCE, archaeological evidence indicates there was a tradition on the island of sexually ambiguous imagery which predates the literary sources. This information prompted the present research, which traces the tradition back to the earliest known examples on Late Neolithic Cyprus, and tracks its evolution through to the Cypro-Archaic period. Rather than rely upon descriptions, photographs and drawings presented in consulted publications, the various international museums that house the figures were visited by the writer in order to physically examine the images. Controversial aspects of these figures were discussed with senior museum staff and/or curators. If figurines were unavailable for viewing, where possible, photographs were acquired from the relevant museums, and controversial aspects of the figures discussed by email. As a result, the majority of the images discussed in this thesis have been examined and photographed by the author. A catalogue of the sexually ambiguous imagery for Cyprus from the Neolithic to the Cypro-Archaic period has been compiled and is included in this work. It is proposed that the imagery is of Cypriot innovation, and consists of proto-anthropomorphic, anthropomorphic and half-animal, half-human representations. The genre is influenced from its earliest period by the figurative art of the Syro-Anatolian mainland, but from the Late Bronze Age onwards, influences from the western Mediterranean and Aegean are also evident. Despite the periods in which there is little evidence for figurine production, sexually ambivalent imagery re-emerges when figurative evidence is once more apparent in the archaeological records. Furthermore, stylistic continuity of the genre from one period to the next is also apparent. This continuity is regardless of the cultural changes which occur intermittently during the seven millennia period relevant to this study. Although it is not until the Cypro-Geometric period that there is firm evidence to support a religious interpretation of sexually equivocal imagery, it is suggested that the genre from the earliest period was at least associated with fertility, and perhaps religious cult.

Although the earliest known literary evidence for a dual-sexed divinity on Cyprus dates to the fifth century BCE, archaeological evidence indicates there was a tradition on the island of sexually ambiguous imagery which predates the literary sources. This information prompted the present research, which traces the tradition back to the earliest known examples on Late Neolithic Cyprus, and tracks its evolution through to the Cypro-Archaic period. Rather than rely upon descriptions, photographs and drawings presented in consulted publications, the various international museums that house the figures were visited by the writer in order to physically examine the images. Controversial aspects of these figures were discussed with senior museum staff and/or curators. If figurines were unavailable for viewing, where possible, photographs were acquired from the relevant museums, and controversial aspects of the figures discussed by email. As a result, the majority of the images discussed in this thesis have been examined and photographed by the author. A catalogue of the sexually ambiguous imagery for Cyprus from the Neolithic to the Cypro-Archaic period has been compiled and is included in this work. It is proposed that the imagery is of Cypriot innovation, and consists of proto-anthropomorphic, anthropomorphic and half-animal, half-human representations. The genre is influenced from its earliest period by the figurative art of the Syro-Anatolian mainland, but from the Late Bronze Age onwards, influences from the western Mediterranean and Aegean are also evident. Despite the periods in which there is little evidence for figurine production, sexually ambivalent imagery re-emerges when figurative evidence is once more apparent in the archaeological records. Furthermore, stylistic continuity of the genre from one period to the next is also apparent. This continuity is regardless of the cultural changes which occur intermittently during the seven millennia period relevant to this study. Although it is not until the Cypro-Geometric period that there is firm evidence to support a religious interpretation of sexually equivocal imagery, it is suggested that the genre from the earliest period was at least associated with fertility, and perhaps religious cult.

Thesis (M.A.)--Syracuse University, 2001. / "Submitted in partial fulfillment of the requirements for the degree of Master of Arts in Illustration in the Graduate School of Syracuse University." Includes bibliographical references.

Thesis (doctoral)--Université de Lille III, 1976. / Includes bibliographical references (p. 930-950).