[From Introduction]. Prior to 1800 advances made in painting could often be accredited to the advances made in paint technology. Since the beginning of the last century however, paint technology has stabilised, moved into the background and allowed the artist to create with the medium rather than be dictated to by it. This stabilising of art technology has also generated a lack of interest in technique, leading in turn to a number of painting techniques being lost. In some ways we know less today of the oil medium and its correct use than was known to Jan and Hubert Van Eyck and their followers. However, if this lack of concern with technique has produced a large number of valid artistic statements which are unlikely to survive physically, it also means that the hoardes of painters who painted technically perfect paintings with no valid art statement have dwindled as well.

黃仕民. / 論文(碩士) -- 香港中文大學硏究院藝術學部, 1996. / 參考文献 : leaves 53-55. / Huang Shimin. / 前言 --- p.1 / Chapter (一） --- 繪畫中使用新物料的起因及其普遍性 --- p.2 / Chapter (二） --- 新物料的特質 --- p.5 / Chapter (三） --- 在當代繪畫中引起的影響 --- p.10 / Chapter (四） --- 結論 --- p.17 / 附圖 --- p.22 / 附註 --- p.52 / 參考書目 --- p.53

李尤猛. / 論文(藝術碩士) -- 香港中文大學硏究院藝術學部, 1995. / 參考文獻: leaves 31-39. / Li Youmeng. / Chapter (一） --- 西方當代藝術走向的啓示 --- p.1 / Chapter (二） --- 在夾縫中求存的本世紀初具象繪畫 --- p.3 / Chapter (三） --- 具象繪畫的回歸機遇和空間 --- p.7 / Chapter (四） --- 在當代具象繪畫中重建藝術的意義和價値 --- p.12 / Chapter (I) --- 具象繪晝´ؤ´ؤ内容的確立 --- p.15 / Chapter (II) --- 具象繪畫一一形式的選定 --- p.20 / Chapter (III) --- 内容與形式表裏相輔相成 --- p.24 / Chapter (五） --- 結語 --- p.26 / Chapter (六） --- 註釋 --- p.28 / Chapter (七） --- 參考書目 --- p.31 / Chapter (I ) --- 期刊 --- p.31 / Chapter (II) --- 書籍 --- p.34 / Chapter (甲） --- 中文參考書目 --- p.34 / Chapter (乙） --- 英文參考畲目 --- p.37 / Chapter (八） --- 附圖 --- p.40

No description available.

霍秀霞. / "2010年9月". / "2010 nian 9 yue". / Thesis (M.F.A.)--Chinese University of Hong Kong, 2010. / Includes bibliographical references (leaves 36-37). / Abstracts in Chinese and English. / Huo Xiuxia. / Chapter 1. --- 引言----一場革命 --- p.7 / Chapter 2. --- 呈現物本身----潛意識 --- p.8 / Chapter 2.1 --- 潛意識的定義 --- p.8 / Chapter 2.2 --- 佛洛伊德潛意識學說在超現實主義上的現實思考 --- p.10 / Chapter 3. --- “潛意識的解放´ح在當代呈現的模式 --- p.14 / Chapter 3.1 --- 拉康與克莉斯托娃 --- p.14 / Chapter 3.2 --- 如何衍生成爲當代模式 --- p.18 / Chapter 3.3 --- "我的創作""Automatic drawing´ح與泥塑空殼" --- p.24 / Chapter 4. --- 結論 / Chapter 5.1 --- 潛意識的工作 --- p.29 / Chapter 5.2 --- 我的理想國 --- p.32 / 圖片來源 --- p.35 / 參考書目 --- p.36

Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished

In 1964 Clement Greenberg suffered his greatest setback as the critical arbiter of modern painting. The "Post Painterly Abstraction" exhibition he had helped to organize at the Los Angeles Museum of Art was critically demolished, definitively shattering the myth of invincibility surrounding Greenberg's modernism, an aesthetic which had been a powerful influence in the United States and Canada in the post-war period. For many contemporary critics, the early to mid-1960's is the period in which a stultified and institutionalized modernism was finally usurped by an approach to culture that was less elitist and more socially engaged. The new cultural model that was taking shape within the Kennedy Administration's vision of the New Frontier sought to remotivate a sense of "national purpose" within the United States to counter the nation's preoccupation with consumerism and affluence. The pragmatic liberal concept of culture sought to rework the relationship between work and play in order to promote a new relationship between individualism and civic virtue. The impetus to re-shape the boundaries between art and society under the New Frontier was a direct response to the political and military challenge posed by the Soviet Union in the late-1950s, especially after the launch of Sputnik in 1957, and the inability of the Eisenhower Administration to respond to the anxieties generated by the intense superpower rivalry. This international environment also exacerbated the ongoing tensions between Canada and the United States, culminating in the 1962 Cuban Missile Crisis . Canadian Prime Minister Diefenbaker delayed in responding to the U.S. alarm over the presence of Soviet medium range nuclear weapons in Cuba, and the political firestorm that followed this delay highlighted the frictions that had developed in the unequal bilateral relationship between the United States and Canada after World War Two. While the Cold War was approaching its ultimate showdown, Greenberg was proceeding to a geographical margin of North America — Saskatchewan — to participate in the Emma Lake Artists' Workshops. Ironically, while Greenberg was extolling the virtues of Canadian abstract painters such as Art McKay and Kenneth Lochhead, going so far as to argue that the Saskatchewan abstract painters were New York's only competition, Los Angeles was asserting itself as New York's cultural rival . As a consequence of the phenomenal post-war growth of the military - industrial complex in the American Southwest, a fierce rivalry was developing with the traditional bases of power in the Northeast. The Southwest, and Los Angeles in particular, was the major beneficiary of the accelerated defense spending resulting from the heightened tensions of the Cold War in the 1950s. Partially in response to a regional dispute over military appropriations, the economic and cultural elites of Southern California sought to counter the pragmatic liberal agenda of the Kennedy Administration by promoting Los Angeles as the Second City of American Art. Greenberg's "Post Painterly Abstraction" exhibition was intended to draw attention to the Los Angeles cultural renaissance and the maturing of the city's independent cultural identity. Thus, Greenberg's sojourn to Saskatchewan at the height of the Cold War and during a crucial period of his formulation of his theory of modernist painting after abstract expressionism provides the focus for an examination of the status of modernism in the early 1960s, especially in the context of U.S.-Canadian relations and interregional rivalry between the Northeast and the Southwest. This thesis seeks to explain the complex cultural and political dynamic of modernist painting in the United States in the Cold War years of 1957 to 1965 and the effect of this dynamic on the development of Canadian modernist painting.

In 1964 Clement Greenberg suffered his greatest setback as the critical arbiter of modern painting. The "Post Painterly Abstraction" exhibition he had helped to organize at the Los Angeles Museum of Art was critically demolished, definitively shattering the myth of invincibility surrounding Greenberg's modernism, an aesthetic which had been a powerful influence in the United States and Canada in the post-war period. For many contemporary critics, the early to mid-1960's is the period in which a stultified and institutionalized modernism was finally usurped by an approach to culture that was less elitist and more socially engaged. The new cultural model that was taking shape within the Kennedy Administration's vision of the New Frontier sought to remotivate a sense of "national purpose" within the United States to counter the nation's preoccupation with consumerism and affluence. The pragmatic liberal concept of culture sought to rework the relationship between work and play in order to promote a new relationship between individualism and civic virtue. The impetus to re-shape the boundaries between art and society under the New Frontier was a direct response to the political and military challenge posed by the Soviet Union in the late-1950s, especially after the launch of Sputnik in 1957, and the inability of the Eisenhower Administration to respond to the anxieties generated by the intense superpower rivalry. This international environment also exacerbated the ongoing tensions between Canada and the United States, culminating in the 1962 Cuban Missile Crisis . Canadian Prime Minister Diefenbaker delayed in responding to the U.S. alarm over the presence of Soviet medium range nuclear weapons in Cuba, and the political firestorm that followed this delay highlighted the frictions that had developed in the unequal bilateral relationship between the United States and Canada after World War Two. While the Cold War was approaching its ultimate showdown, Greenberg was proceeding to a geographical margin of North America — Saskatchewan — to participate in the Emma Lake Artists' Workshops. Ironically, while Greenberg was extolling the virtues of Canadian abstract painters such as Art McKay and Kenneth Lochhead, going so far as to argue that the Saskatchewan abstract painters were New York's only competition, Los Angeles was asserting itself as New York's cultural rival . As a consequence of the phenomenal post-war growth of the military - industrial complex in the American Southwest, a fierce rivalry was developing with the traditional bases of power in the Northeast. The Southwest, and Los Angeles in particular, was the major beneficiary of the accelerated defense spending resulting from the heightened tensions of the Cold War in the 1950s. Partially in response to a regional dispute over military appropriations, the economic and cultural elites of Southern California sought to counter the pragmatic liberal agenda of the Kennedy Administration by promoting Los Angeles as the Second City of American Art. Greenberg's "Post Painterly Abstraction" exhibition was intended to draw attention to the Los Angeles cultural renaissance and the maturing of the city's independent cultural identity. Thus, Greenberg's sojourn to Saskatchewan at the height of the Cold War and during a crucial period of his formulation of his theory of modernist painting after abstract expressionism provides the focus for an examination of the status of modernism in the early 1960s, especially in the context of U.S.-Canadian relations and interregional rivalry between the Northeast and the Southwest. This thesis seeks to explain the complex cultural and political dynamic of modernist painting in the United States in the Cold War years of 1957 to 1965 and the effect of this dynamic on the development of Canadian modernist painting. / Arts, Faculty of / Art History, Visual Art and Theory, Department of / Graduate

Chau, Tsz Kin. / "December 2011." / Thesis (M.Phil.)--Chinese University of Hong Kong, 2012. / Includes bibliographical references. / Abstracts in English and Chinese. / Introduction --- p.1 / Chapter Chapter 1 --- Who's Pan Yuliang? Whose Pan Yuliang? --- p.7 / Who's Pan Yuliang? --- p.7 / Life and Art of Pan Yuliang: Existing Account --- p.12 / Whose Pan Yuliang? --- p.22 / "Summary of Existing Accounts: Biography, Oedipus complex and Narcissism" --- p.30 / Chapter Chapter 2 --- Reconsidering Pan Yuliang --- p.33 / Academic works in Mainland China and Taiwan since 2000 --- p.33 / Theorizing the Woman Painter --- p.42 / Background I: Modern Art in Republican China --- p.54 / Background II: Paris Modernism --- p.60 / Chapter Chapter 3 --- Expanding Biography into History --- p.63 / Chapter Chapter 4 --- The Political Xiesheng and its Gender Politics --- p.82 / "Pan Yuliang: from Shanghai (1928-32, 36-37) to Nanjing (1933-35)" --- p.83 / The Mission ofNanjang: National Administering of Modernism --- p.86 / Pan Yuliang and the Chinese Arts Association --- p.97 / Xiesheng and a New Woman/painter Subject --- p.113 / Conclusion: a Different Modern for a Woman Painter --- p.123 / Chapter Chapter 5 --- Differencing the Modern and Women's Culture --- p.127 / Theorizing Women's Culture --- p.130 / Pan Yuliang and Women's Community --- p.134 / Contextualizing Women's Community: Republican Modernity and Post-war / Pacifism --- p.137 / Conclusion: Women's Art and Modernism --- p.145 / Conclusion Rethinking Republican and Women's Art --- p.146 / Appendix --- p.150 / Glossary --- p.158 / Graphical Materials --- p.165 / Bibliography --- p.251