Thesis (Ph. D.)--Stanford University, 1982. / Includes bibliographical references (p. 478-491).

Thesis (doctoral)--Université de Rennes II, 1975. / Vol. 3 entitled: Illustrations. Includes bibliographical references (v. 2, p. 1012-1082) and index.

The long tradition in the arts of the Hunt, domestic and exotic, as a surrogate for war in peacetime is reflected in the Amiens Hunting Series (1736-1739) along with influences from the waning years of Louis XIV and early trends in the reign of Louis XV. / Two of Francois Boucher's lesser known works form part of the Amiens canvases executed for Louis XV's private gallery at Versailles. Carle Van Loo, Charles Parrocel, Jean-Francois de Troy, Jean-Baptiste Pater and Nicolas Lancret contributed to the Series, but Boucher's work is unique due probably to his study of the hunts of Peter Paul Rubens and his reference to an older heritage represented by Antonio Tempesta who had already interpreted the natural wonders of the world as described by Pliny and others. / The seventeenth-century concept of the "noble huntsman" endures through the pivotal work of Boucher which constitutes the logical link between Rubens's Baroque expression and the Romantic extension of the theme by Eugene Delacroix.

No description available.

The entire thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file; a non-technical public abstract appears in the public.pdf file. Title from PDF of title page (University of Missouri--Columbia, viewed on March 19, 2010). Thesis advisor: Dr. Michael Yonan. Art work removed from thesis by author. Includes bibliographical references.

Thesis (Ph. D.)--University of Texas at Austin, 1999. / Vita. Includes bibliographical references (leaves 340-357). Available also in a digital version from Dissertation Abstracts.

Thesis--Bonn. / Vita. Bibliography: p. 257-279.

Thesis--Bonn. / Vita. Bibliography: p. 257-279.

This study explores the interdependent relationship between Diderot's writings on art, the art of eighteenth-century France, and the times that produced them both. Accordingly, the study falls into three principal related sections, with each enlarging upon a specific facet of the topic. Proceeding from the premise that both Diderot and the paintings he discussed belonged within a particular cultural context of tastes, ideas, and historical facts, the first principal division, "Diderot in the Scheme of Things", begins as a brief survey of the artistic realities that prevailed in France prior to the approximate period spanned by the Salons in order to present a general view of the eclectic body of art on which he based the substance of his commentaries. The related section on "Diderot's Aesthetics" specifies a certain problem in discussing Diderot's writing on art and demonstrates that Diderot's artistic notions cannot be treated from a general aesthetic standpoint but can be understood only in terms of the individual criticisms themselves. The "Essay on Painting" presents a compendium of the themes and ideas that Diderot applied in those individual criticisms. Both the section entitled "Diderot's Aesthetics" and the one dealing with the "Essay" present transitional introductory material for the second major division, "The Salons: 1759-1781", which deals with individual criticisms of specific paintings to show Diderot's critical method at work in a varied range of representative works and to show in what way Diderot fails to understand the paintings before him in the idiom of the artist. On the basis of this conclusion, it would be easy to dismiss much of his commentary on the ground that it is quaint but inadequate; the final major division builds on this possible conclusion, however, to explore a further facet of the Salons and shows, through its focus on the Salon of 1767 that Diderot's commentaries were not merely criticisms of art but of society as well and that his attitude toward the needs and faults of society conditioned his approach to art. In its substance, this section offers the view that because of--rather than in spite of--its polarities and inconsistencies, Diderot's thoughts on contemporary art provide a faithful reflection in small of identical conflicts and aspirations in the larger context of eighteenth-century French society. Diderot's values and the values of his time emerge from his application of those values to contemporary art. With art as the matrix, the values of the man. and those of the society present themselves at the conclusion of the study as a mosaic of concepts in opposition--a mosaic where each conceptual element attains its meaning in juxtaposition, rather than in harmony, with the others. / Arts, Faculty of / French, Hispanic, and Italian Studies, Department of / Graduate

Since the beginning of the twentieth century, Paul Cézanne (1839-1906) has been analyzed repeatedly by scholars, most often through the methodologies of formalism and psychology loosely defined. However, Cézanne has never been considered through the methodology of ecocriticism. In this thesis I analyze Cézanne through an ecocritical lens, arguing that Cézanne's landscape paintings of Aix-en-Provence and the nearby coastal village of l'Estaque form a bioregional picture of his native environment, or bioregion, of Provence, while also arguing that Cézanne was environmentally aware. In analyzing the bioregional elements of Cézanne's landscape paintings, I explore subjects including the artist's biography and his friend Émile Zola's (1840-1902) environmental writings, ecocritical scholarship and art history's relationship with it, environmental history in Provence, and photography.