Inaugural-Dissertation -- Leipzig, 1929. / Lebenslauf. "Literaturnachweis," p. [92].

Inaug.--Diss.--Munich. / Bibliography: p. 140-141.

Thesis--University of Chicago. / Includes texts in Chinese and Japanese. Includes bibliographical references (leaves 219-235).

Thesis (M.A.)--Zhongguo wen hua xue yuan. / Reproduced from typescript. eContent provider-neutral record in process. Description based on print version record. Bibliography: leaves 105-109.

Thesis (M.Sc. (Geography))--University of Pretoria, 2009. / Includes bibliographical references

Not available / text

This report outlines the conceptual, procedural and material evolution of my artistic practice over the course of the past three years. Throughout all of the changes my artwork has undergone during this time, my work has always dealt with the combination of (and sometimes conflict between) a scientific, logical, utilitarian truth, and a more poetic, emotive and oblique conception of knowledge. This preoccupation reflects my own impulse to both understand my environment in the most conventionally factual way, while simultaneously acknowledging its hopeless (but profound and poetic) complexity, subjectivity and obscurity. As a manifestation of these concerns, my artistic output includes diagrammatic compositions, philosophical illustrations, drawings of scientific imagery, portfolios of cartographic documents and methodical replications of scientific experiments. In this report I outline the various, complimentary ways in which I consider the notion of epistemological collapse. / text

This project has been an exploration into the various techniques of watercolor and their resulting effects through research into the work of past and contemporary watercolorists. The investigation of this background knowledge led to experimentation and later implementation of these techniques in a group of seventeen paintings, reproduced in slide form and then framed. Techniques such as wet-on-wet, splatter and dry-brush were illustrated.Subsequently following was the development of an instruction packet designed for interested watercolor students. The packet consists of the slide of the paintings in which the various techniques are illustrated, a text explaining the "how-to" of the different techniques and their resulting effects, and a tape which can be used in co-ordination with the text.

The intention of this thesis and this series of paintings was to discover a universal bond between Surrealism and Abstract Art. It examined the origin of creative motivation and observed the similarities between these forms of creative production.For examples and information the writer researched Salvador Deli and Max Ernst of the Surrealistic schools; Wassily Kandinsky and Jackson Pollock represented the Abstract school. Objectification of unconscious processes was expressed through the inner wishes end dreamstates of both the Surrealists and the Abstractionists. A cohesive tie was discovered between image and imageless painting. Through comparison of the artists used as reference and the confirming series of paintings, this thesis was successfully completed.

Viewed from odd angles, the ordinary looks new and the commonplace becomes unusual. The purpose of my creative project, Re-envisionina the Ordinary: A Study of Vantage Points in Painting, was to use unusual vantage points and multiple viewpoints as compositional devices to show familiar household scenes and objects in a new way. Analysis of artworks and writings by realist painters such as Edgar Degas, Paul Cezanne and Pierre Bonnard helped me learn how each of these artists used unusual or multiple viewpoints While researching these artists, I began to understand why space is one of the fundamental issues of art. I found that, as an artist, I cannot use vantage points and viewpoints without considering the larger issue of space.Artists throughout time have wrestled with the question: how does one represent three-dimensional space on a two-dimensional surface? By presenting different treatments of space, I showed how various artists have answered the question. Leonardo da Vinci solved the problem using linear perspective. Edgar Degas and Pierre Bonnard answered the question usingoriental space and unusual or multiple viewpoints. Paul Cezanne's solution was a new system of unified space.Contemporary artists provide other answers to the question of space. Rene Magritte used the illusionary devices of linear perspective to paint his surreal world. Philip Pearlstein returned to Degas' and Cezannes' concept of space to emphasize both the three-dimensionality of the figures and the twodimensionality of the picture plane. David Hockney found his solution in the multiple viewpoints of cubism.My creative project is my answer to the question. I integrated unusual vantage points, and multiple viewpoints to create ten paintings with unified space. I used some conventions of linear perspective to show depth. For example, sizes and details in my paintings diminish with distance. I then contradicted the three-dimensionality by using some conventions of oriental space that flatten the picture plane: oblique perspective, overlapping and positioning an object next to the front surface. / Department of Art