管偉邦. / "2002年6月" / 論文 (哲學碩士)--香港中文大學, 2002. / 參考文獻 (leaves 1.1-1.2) / 附中英文摘要. / "2002 nian 6 yue" / Guan Weibang. / Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2002. / Can kao wen xian (leaves 1.1-1.2) / Fu Zhong Ying wen zhai yao. / 弁言 --- p.1 / Chapter 第一節 --- 傳統的反思´ؤ´ؤ筆墨觀念的肇始與發展 --- p.2 / Chapter 第二節 --- 近代的反思´ؤ´ؤ二十世紀筆墨爭論的探索 --- p.14 / Chapter 第三節 --- 筆墨的反思´ؤ´ؤ筆墨爭論與傳統筆墨之我見 --- p.26 / 結語 / 附錄一 參考書目 --- p.1.1 / 附錄二 圖版 --- p.2.1

Typescript (photocopy). / Digitized by Kansas Correctional Industries

曾翠薇. / "2003年12月". / 論文(哲學碩士)--香港中文大學, 2003. / 參考文獻 (leaves 71-74). / 附中英文摘要. / "2003 nian 12 yue". / Zeng Cuiwei. / Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2003. / Can kao wen xian (leaves 71-74). / Fu Zhong Ying wen zhai yao. / Chapter 第一章- --- 緒論 / Chapter 第一節： --- 何謂敘事 --- p.1-2 / Chapter 第二節： --- 敘事與人生的實踐 --- p.2-7 / Chapter 第二章- --- 西方敘事性繪畫的釋義及演變 / Chapter 第一節： --- 敘事性繪畫的定義 --- p.7-8 / Chapter 第二節： --- 二十世紀現代藝術的敘事性繪畫 / Chapter 2.1 --- 現代藝術的文化背景 --- p.8-9 / Chapter 2.2 --- 敘事性繪畫在現代藝術中的發展狀況 / Chapter 2.2.1 --- 表現主義繪畫的個體表述 --- p.10-12 / Chapter 2.2.2 --- 超現實主義繪畫的敘事手法 --- p.12-14 / Chapter 第三節： --- 當代敘事性繪畫的面貌 / Chapter 3.1 --- 當代藝術的敘事方式 --- p.14-16 / Chapter 3.2 --- 二十世紀末的敘事性繪畫 --- p.16-17 / Chapter 3.3 --- “新表現´ح和“超前衛´ح --- p.17-21 / Chapter 3.4 --- “新意象´ح與“塗鴉´ح --- p.21-23 / Chapter 第三章- --- 「新繪畫」與當代藝術的關係及其時代意義 / Chapter 第一節： --- 二十世紀下旬藝術的發展形勢 --- p.23-26 / Chapter 第二節： --- 「新繪畫」的作品特徵與後現代文化之關係 / Chapter 2.1 --- 隱喻和象徵 --- p.26-27 / Chapter 2.2 --- 神話與寓言 --- p.27-30 / Chapter 2.3 --- 原始和本能 --- p.31-32 / Chapter 2.4 --- 反諷與拼貼 --- p.32-34 / Chapter 第三節： --- 繪畫的復興的時代訊息 / Chapter 3.1 --- 反省精神 --- p.34 / Chapter 3.2 --- 形象的回歸 --- p.34-35 / Chapter 3.3 --- 敘事性和文學性重新被肯定 --- p.35 / Chapter 第四章- --- 探討繪畫中「真實」意涵的演變 / Chapter 第一節： --- 繪畫中「真實」意涵的演變 / Chapter 1.1 --- 再現的真實 --- p.36-40 / Chapter 1.2 --- 真實與表現性 --- p.40 / Chapter 1.3 --- 個體內在的真實 --- p.40-41 / Chapter 1.4 --- 原始、本能與真實 --- p.42 / Chapter 1.5 --- 後現代中的真實 --- p.43-46 / Chapter 第二節： --- 在敘事性繪畫中追逐「真實」的意涵 --- p.46-49 / Chapter 第五章- --- 結論 --- p.49-53

My thesis, “Painting History in Mid-Century America: A Case Study of Friedel Dzubas’s Mature Style (1970s)” examines why Friedel Dzubas—an American artist of German descent whose friends and supporters included the powerful critic Clement Greenberg and the artists in his circle, among them Morris Louis, Jules Olitski, Helen Frankenthaler, and Kenneth Noland—disappeared from the canon of artists associated with Post Painterly Abstraction (Color Field Painting) as it evolved from the later 1950s into the 1970s. My work offers an account of the genesis of Dzubas’s mature style based on a formalist approach to the artist’s work. Chapter One presents Dzubas’s early biography, excavated for the first time from documents in the Friedel Dzubas Estate Archive to which I have been given sole access. Until now, the published critical writings on Dzubas’s works, including those of Clement Greenberg and Michael Fried, have tended to consider Dzubas’s painting in the 1970s anomalous with regard to Post Painterly Abstraction, and even more damaging, to be a nearly failed effort in the simulation of that modernist problematic. While not challenging that reception, I present clear evidence from letters and interviews of Dzubas’s more immediate interests, despite the continued grouping of his work with Post Painterly (Color Field) painters. By the 1970s, these interests showed themselves in abstract symbols of religious import and atmospheric aerial landscape painting. Rather than foregrounding the characteristics that distinguished painting qua painting in modernist theorizations—the canvas’s two-dimensional facticity, the relationship between paint-images and their framing edges, and the releasing of hue in open fields across the surface—Dzubas’s paintings highlight compositional strategies and traditional approaches to the canvas that at the time were considered anachronistic when judged against aesthetic values of material integrity, spontaneous production, color expression, and autonomy. Dzubas’s gessoed grounds, suspended images in shallow space, and allusive, tactile associations challenged modernist precepts at that time. The theory behind this attitude is explored in Chapter Two. Chapter Three presents a close reading of Dzubas’s critical reception, focusing on reviews that while vaunting his color sense and dramatic, roiling surfaces marginalized his production by linking it to his German background and the influence of the great Romantic painters. In Chapter Four, I propose that rather than merely carrying over gestural abstraction from the 1940s and 1950s in America into his own production, Dzubas was more profoundly influenced by the “touch” in historic painting, the colorito in the tradition of the Venetians dating from late Titian to the grand frescoed tableaux of Giambattista Tiepolo, whose vast expanses further inspired Dzubas to create his own religious tableau, his magnum opus, Apocalypsis cum Figuras/Crossing, A.D. 1975, 1975. My case study suggests that for his grand realization, Dzubas had reached back to his early training in decorative wall painting and to specific characteristics of Tiepolo’s vast panoramas whose figuration was grounded in affective gestures of 18th-century opera seria. Dzubas’s turn toward Tiepolo affirms his commitment to the theatrical as well as to the pictorial structures of religious depictions of the Day of Judgment.

My thesis exhibition “Mercury Express” is the culmination of my creative research and the paintings that I have created over the past three years. This body of work is comprised of fourteen oil glaze paintings on canvas, ranging in size from 16x 16 inches to 36 x 48 inches. These paintings demonstrate, through subjective color and the application of misty layers of luminous paint, my residence on the edge of moving to the future and looking to the past. Through imagination my paintings express a longing for connections and offer glimpses of happiness tinted with a pervasive overcast of melancholy. Mercury Express is a visual expression of what I consider to be ‘Kitsch’, ‘Sentimental’ and ‘Adventurous’. Through this work I salvage and renew the child-like wonder that managed to survive into my adulthood. Through the positioning of remembered objects in imaginary landscapes, Mercury Express recalls and explores my childhood memories, ideas and aspirations to reclaim the wonder I have lost as an adult. / Includes bibliography. / Thesis (M.F.A.)--Florida Atlantic University, 2019. / FAU Electronic Theses and Dissertations Collection

After studying both Oriental and Western paintings, I became interested in many different approaches involving composition, color harmony, design, texture, and form. It was my main purpose to explore various painting media by means of combining materials, techniques, and processes used in the Western and Oriental paintings. The source of my paintings is the sum total of my experience in both Oriental and Western paintings. Most of the Oriental paintings were either sketched or painted out of my imagination. They are clear realism in the Oriental sense of the work. Most of my Western paintings are either abstract or semi-abstract. Some of them were sketched in the Portland area; especially the diptychs and triptychs of my work reflect my feelings of nature: the cycles of the season, the rich autumn colors in the fall, and the times of the day. It is not a record of my feelings about a particular place or moment. Rather it is an accumulation of all the things I have seen, abstracted and organized to express all I have ever felt and learned about nature. History shows that new forms of art have always been found absurd at first and then condemned out of hand by the public at large. Hence, I do not feed on a single dish, do not limit myself to a single cuisine; I am on no diet. I merely like it all. Therefore, as an art teacher with a combination of Western and Oriental art backgrounds. I hope I can teach Korean high school students by means of mixed media in expressing their own ideas for their creative work. Here, I would like to define what my mixed media mean. By it I mean techniques, materials, and processes used both in Western and Oriental paintings. In the mixed media I used masonite board, rice paper, canvas; oil, ink, tempera, pastel; sharp pointed Oriental and wide Western bristle brushes. I tried to figure out the most economical materials for the Korean student, but it was almost next to impossible to do so. It was simply because some materials easily attainable in my country may not be available in this country and vice versa. They, if any, may be more costly. For instance, rice paper is much more expensive in this country than in Korea; masonite board is more expensive in Korea than in the United States of America. Therefore, I decided to leave it to my future planning. Also contained within my thesis are my education objectives for Korean high school students. In Korea the art education in high school is still tradition-bound, although the trend is changing gradually toward an improvement in thinking and imagination concerning art. In this sense I would like to emphasize creativity which comes whenever the individual searches for a new solution which is novel, and unique, representing the culmination of a creative act.

Motivated by the need for strong female depictions in our culture, as well as the desire to research and pay tribute to the women workers of World War II, the author initiated the War Women project as the focus of this thesis. The objective of the project was to create a series of large-scale paintings of the women defense workers of World War II that could be used to pass down these women’s motivating legacy and reveal its contemporary context. To begin the project, nine historical photographs were chosen as source material for an original set of nine paintings. A problem arose when attempting to paint these images because the photographs chosen were low in resolution, leaving them vague and undefined. Though sufficient for creating the basic idea for a painting, the chosen photographs needed to be enhanced and re-created to become useful source material for the series of representational paintings. To enhance the images, props and models were found, photographed, and, in one instance, three-dimensionally modeled to replace their counterparts in the original photograph. Digital techniques like compositing, colorizing, and color correcting were essential tools for reinventing the source material. The resulting images were adequate source material for the series of nine paintings completed for the War Women project.

Thesis (MFA)--University of Montana, 2009. / Contents viewed on November 30, 2009. Title from author supplied metadata. Includes bibliographical references.

Thesis (M.A.)--Guo li Taiwan da xue. / Reproduced from typescript. Includes bibliographical references (p. 141-151).

Thesis (M.A.)--New York University. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.