The study of Florentine artistic patronage has attracted several approaches over the last three decades, including the exploration of patron-­‐client structures and how the use of art in private and public spheres contributed to shape families’s identity. Building on past research, this work focuses on the art patronage of a prominent, yet overlooked, family, the Vespucci, to whom Amerigo, the navigator who reached the coasts of America in the late fifteenth century, belonged. Although the family’s importance was achieved through a synergy of political, religious and intellectual forces, attention is given to the Vespucci’s engagement with the arts and their key contribution to Florence’s humanistic culture between the years 1470-­1500. The family’s houses and private chapels are analysed, and three artists, Botticelli, Ghirlandaio and Piero di Cosimo, considered. Combining history, art history, and archival resources, new evidence and interpretations are advanced to ascribe selected artworks -­ controversially believed to be Vespucci commissions - to the private patronage of this Florentine family. Examining the Vespucci’s artistic taste in private and public settings, whilst attempting a reconstruction of partially lost painted commissions, deepens comprehension on the role that domestic and social life played in the creation of art and culture; the family’s force in shaping spaces; and the practice of buying, commissioning, and displaying as a means of signifying wealth, increasing status, and establishing identity. Power seekers, the Vespucci entered the Medici intellectual circles through which they created chains of friendship with prominent families inside and outside of Florence. As questions about shared artistic tastes and the paradigmatic role of the Medici artistic patronage have been the focus of scholarly enquiry, this study of the Vespucci provides an insight into the family’s spreading of new ideas and its interaction with the development of the visual arts. Investigation into the Vespucci’s breadth of interests helps to reframe the current knowledge of Florentine cultural exchanges and to contextualise the family’s influence beyond the geographical discoveries it has been exclusively associated with.

Prussian King, Frederick the Great was one of the most powerful rulers in Europe of the eighteenth century. He was not only an outstanding leader, but also an excellent flute player and music patron as well. The purpose of the study is to examine his contributions as a music patron, composer, and performer. The research focuses on his flute compositions and the musical environment that he created in Berlin. The thesis consists of four chapters, in addition to the introduction. Chapter one is an overview of the Prussian court and Frederick the Great. Chapter two discusses the musical patronage of Frederick the Great and musical activities at the court, including concerts, the enterprise of the Berlin opera house, and court musicians. Chapter three centers on detailed style analysis of King¡¦s flute compositions to which the significant musical characteristics are examined. The last chapter consists of the summary and conclusion. The enthusiasm of Frederick the Great for music based on his loving for flute playing. As a ruler for a nation, music patron, performer, and composer, the King was not only heightened the standard of musical culture for Prussia, but also created an important Berlin school for flute in the history of music. The musical characteristics of King¡¦s flute compositions present the transitional styles between the Baroque and Classical period, in which the refined structure of the flute instrument reflects its features. The compositions of the King provided a vast literature for flute repertoire in the eighteenth century.

Thesis (Ph.D.)--York University, 2006. Graduate Programme in History. / Typescript. Includes bibliographical references (leaves 376-388). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:NR29482

Thesis--Helsinki. / Summary in English. Errata slip inserted. Includes bibliographical references (p. 299-314).

Thesis (Ph. D.)--University of California, Berkeley, 1983. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (p. 215-220).

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This thesis analyses the work of the artists living and painting in the area around the fishing village of Cullercoats and examines the conditions which fostered and maintained this colony during the period 1870 to 1914. As part of this process, two hitherto disparate bodies of scholarship are considered in tandem. Firstly, the increasing number of studies into European artists' colonies, encompassing consideration of both the phenomenon itself and of the artworks produced at them. Secondly, the locally-based recovery of late-Ivth-cenrury north east artists and their milieu, which has grown out of regional exhibition projects. Exposing the very clear areas of commonality between the two spheres of study underscores the central questions which this thesis addresses; namely, can the group of artists at Cullercoats be described as a colony; and if so, why has it been so consistently denied a place in colony surveys to-date? Answers are sought by engaging with a number of inter-related issues. These include the particular economic and social conditions which could sustain a local artists' colony and the variety of art clubs, exhibition spaces and sales venues which the colony fostered: the specific elements which are necessarily present to mark out a 'colony', rather than merely a 'sketching ground': the wider contemporary awareness of the colony and its work and how this compares with similar coastal colonies in Britain: the unpicking of the ideologies which underpinned the Naturalist subject in British art in the late-LOth century, including issues of race and gender ideals, nationalism and regionalism, tourism, and anxieties over urbanisation and industrialisation. The scope of this thesis demands an inter-disciplinary approach, combining social, economic and political history, gender studies, the wider field of 'cultural studies', as well as the usual analytical tools of the art historian. In essence, the thesis combines an empirical and theoretical contextualisation as the framework for a fresh perspective on the position and work of the Cullercoats artists' colony, which has wider implications for our understanding of European Naturalism and the colony phenomenon.

The most surprising outcome from the Victoria School of Art and Design's first half century is that it survived into its second. How it survived, and how it almost failed to, is the subject of this thesis. The main argument is that community support for the VSAD, or lack of it, was based more on pragmatic concerns, rather than on whether people liked the art being produced. Among those concerns, the most talked about was art training for employable skills. Led by Anna Leonowens, who later became the subject of the musical The King and I, well-to-do citizens in Halifax, Nova Scotia founded the VSAD in 1887. In 1925 the school changed its name to the Nova Scotia College of Art. Its current name, the Nova Scotia College of Art and Design, came in 1969, the year that the College became what was then the only autonomous degree granting art institution in Canada. As part of an international movement, the VSAD shared its late nineteenth century origins with similar art schools throughout North America, Europe, Britain and its colonies. Many of these schools also shared common purposes: to sharpen the graphic skills of industrial designers, to provide instruction in the fine and decorative arts, and to train drawing teachers for public and private schools. Of the different groups supporting the Halifax school, women and their organizations were the most consistent and consequential, especially Halifax's Local Council of Women. A properly funded art school, they argued, could generate jobs, stimulate economic gains, and foster higher standards of civic culture within the community. This study looks at the VSAD's supporters, teachers, and administrators during its first half century. It describes how the school, with its inadequate enrolment, budget, and space, played a limited role in generating art-related employment before the Great War. It is only with the principalship of Elizabeth Styring Nutt from 1919 to 1943, with her strong community connections and decades-long commitment to training artist-workers, that the school finally gained relative security and success.

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The purpose of this thesis was to examine the concept of isolation as it occurs within the profession of ministry. Isolation, for the purpose of this thesis, is defined social-psychologically. Within the field research isolation is considered as evidenced professionally, socially and spiritually. This study utilized as its sample base 200 hundred Church of Scotland ministers (15% of total population) which provided 159 usable responses to an extensive mail survey. The mail survey consisted of a questionnaire designed and tested to measure experienced isolation; the Myers-Briggs Type Indicator, a personality measure; and the Purpose In Life Test, a measure of motivation. A further 15% of the respondents were selected by random process for direct interviews. The thesis is divided into four primary sections; psychological perspective, theological perspective , field research, summary and conclusions. Chapter 1 reviews eight psychological perceptions of isolation as found in the works of such notables as Freud, Adler, Fromm, Horney, Laing, Sullivan, and Frankl. From these it was determined that common to all perspectives of isolation was a primary isolation from the SELF. In chapters 2 and 3a model of isolation was developed from the work of C. G. Jung and applied to the profession of ministry. Chapters 4 to 6 examine the concept of separation from the self from a theological perspective as found in the works of P. Tillich and E. Brunner. Chapter 6 develops a composite view of the self and considers it in light of the redemptive process. Chapters 7 to 10 review the actual field study conducted by the researcher among the Church of Scotland ministers. This study concludes in Chapter 11 with a summary of the findings and their implications for the ministry of the church. The salient factor evidenced was that isolation is not primarily an inter-relational problem, but rather an intrarelational phenomenon.