Thesis (M.A.)--University of Wisconsin--Madison, 1970. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

I have been working on my Master degree work at art residenci in Gedok art centrum in Stuutgart,Germany. Thecollection of work is consist of approximately 15-20 works.Medium is painting, technique oil on canvas. The serie of paintings has different kind of measures, from 80x90cm to 200 x 200cm.

No description available.

Prior to January 2010, my work in painting focused on opposites, such as the difference between the instinctual and the planned. Formally I was interested in the need to veil, and the urge to reveal the thinking and processes in the creation of a painting. Through the juxtaposition of these things I sought to strip landscape of its inherent divinity and create a new kind oflandscape using color, atmosphere, and mark making. My goal was to make the monumental insignificant and secondary to my process and create works with clear intent, a physical process, and an interest in how color can be used to suggest the illusions of space, time, and depth. Currently, my work has undergone major changes in regards to content. This thesis will explain the journey I have undertaken during the past two and a half years while discussing my reasons for abandoning my initial proposal for something based less in academic discourse and more in personal introspection.

Thesis (M.A.) (Hons.) -- University of Western Sydney, Nepean, 2001. / Thesis submitted for the degree of Master of Arts (Honours) Contemporary Arts, University of Western Sydney (Nepean) 2001. Spine title : Expressing change in values with illusionary objects. Bibliography : leaves 58-60.

3 ABSTRACT Humankind in its whole being is reflecting an environment by culture and visual art. Different cultural periods value nature and environment differently, what have a strong impact on nature management - some culture periods have a strong feeling for protecting nature for its own value while others see nature just as a source of materials or energy. This relationship is possible to find in art artifacts made during particular culture period. The communistic idea was ruling for almost half of the twentieth century in former Czechoslovakia. And its point of view has strong negative impact on state of nature and environment. As an official style of art socialist realism was approved at the same time. Its main goal was portraying a new communistic world, new communistic society and new communistic man. Aim of this work is to find out how the socialistic realism displays nature and landscape topic in art pieces. In core of this work stays the assumption, that socialistic realism has no value for nature itself, on the contrary it appreciates only it's rebuilding for easier exploitation. Findings are based on study of theoretical art texts and art-pieces from the period 1945 - 1958. Keywords: nature, landscape, aesthetic, art, socialist realism, landscape painting

Submitted by Renata Lopes (renatasil82@gmail.com) on 2017-05-10T20:16:21Z No. of bitstreams: 1 juliadiasmoller.pdf: 5825015 bytes, checksum: 44b44f67316d2a6c9e16d5dae8d34bd4 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2017-05-11T13:27:44Z (GMT) No. of bitstreams: 1 juliadiasmoller.pdf: 5825015 bytes, checksum: 44b44f67316d2a6c9e16d5dae8d34bd4 (MD5) / Made available in DSpace on 2017-05-11T13:27:44Z (GMT). No. of bitstreams: 1 juliadiasmoller.pdf: 5825015 bytes, checksum: 44b44f67316d2a6c9e16d5dae8d34bd4 (MD5) Previous issue date: 2017-03-27 / A construção da figura humana na arte apresenta uma relação não apenas com a representação do humano, mas com um conjunto de ideias e pensamentos que envolvem crenças religiosas, aspecto moral de como o ser humano se vê e se posiciona diante do mundo e também possui relações com a estética e com o estilo artístico de cada período histórico. Em 1615 foi publicado em Portugal o primeiro tratado sobre pintura. Arte da Pintura Symmetria, e Perspectiva foi escrito pelo dominicano Filippe Nunes. Neste período a Europa passava por uma crise em relação às reformas religiosas e Portugal fazia parte do reino da Espanha com a União Ibérica. O mundo lusitano fazia eco aos valores tridentinos, reforçados pelos clérigos. Toda a publicação impressa passava por um rigoroso sistema de censura. O Arte da Pintura apresenta um pequeno volume de informações que são divididas em seções. Há em Arte da Pintura uma seção inteiramente dedicada à divisão e medidas do corpo humano, onde Nunes cita a teoria de quatro importantes tratadistas – Albrecht Dürer, Juan de Arfe, Daniele Barbaro e Vitrúvio. Diante disso, a pesquisa se debruça a entender o papel que a figura humana desempenha no tratado e como ela é construída. Para tal entendimento, percorrem-se alguns caminhos como a análise do tratado, sua inserção no mundo Ibérico e seus possíveis frutos. Busca-se apurar a erudição de seu autor, suas fontes e o ambiente no qual estava imerso. E, por fim, busca-se compreender a ideia da construção da figura humana e seus ecos dentro do Arte da Pintura. / The construction of the human figure in art presents a relation not only with the human’s representation but with a set of ideas e thoughts that involves religious beliefs, moral aspect of how the human being see and position itself in front of the world and also has relations with the aesthetics and the artistic style of each historical period. In 1615 it was published in Portugal the first treaty about painting. Arte da Pintura Symmetria, e Perspectiva was written by the Dominican Filippe Nunes. In this period Europe was living a crisis in relation to the religious reforms and Portugal was part the Spanish Kingdom with the Iberian Union. The Lusitanian world echoes to the tridentine values reinforced by clerics. Every printed publication was submitted to a rigorous censorship system. The Arte da Pintura presents a small volume of information that are divided in sections. There is, in the Arte da Pintura, a whole section dedicated to the division and measurements of the human body, where Nunes quotes the theory of four important writers – Albrecht Dürer, Juan de Arfe, Daniele Barbaro and Vitruvio. In front of this, the research leans over in understanding the role that the human figure performs in the treaty and how it is constructed. For such an understanding, we go through some paths such as the treaty analysis, its insertion in the Iberian world and its possible effects. We seek to discover the erudition of its author, his sources and the environment in which he was immerse. And finally we seek to understand the idea of the construction of human figure and its echoes inside Arte da Pintura.