Diss.--Aachen--Technische Hochschule, 1990. / Contient en appendice des textes en ancien français, français moyen et français.

Thesis-Marburg/Lahn. / Vita. Includes bibliographical references.

Thesis (doctoral)--Uppsala universitet, 1983. / Summary in English. "Tabeller över ateljé J:sons fotograferingar 1944-1978" ([40] p.) inserted. Includes bibliographical references (p. 142-143).

Thesis (MA) --University of Melbourne, School of Culture and Communication, 2010. / Typescript. Includes bibliographical references (leaves 98-110)

Inaug.-Diss.-Basel. / Vita. "Die Arbeit erschien auch erweitert und mit 27 Lichtdrucktafeln versehen als Heft 17 der "Studien zur Deutschen Kunstgeschichte" Verlag von J.H. Ed. Heitz ... Strassburg."

Thesis (M.A.)--University of Wisconsin--Madison, 1971. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Portraits of hong merchants produced in the latter period of the Canton Trade (1820-1840) portray these merchants in a new manner — one that previously had not been seen in China. These portraits depict Chinese subjects through a pastiche of signs associated with China's elite, yet the medium of oil painting and the use of perspective, drawn primarily from European artistic traditions, was unusual in Canton and was not in popular use in China as a whole. This study examines portraits of hong merchants executed by a Scottish artist residing in Canton, George Chinnery, as well as his Chinese student, Lamqua, in order to trace a particular form of portraiture that emerged at this time. As I will argue, this type of portraiture evoked the contradictions inherent in the hong merchant's position, which was situated between Chinese rule and foreign trade, and also gave form to a range of tensions and disparities that existed between the merchants and Chinese mandarin officials, or hoppos. Along with the exchange of commodities which was central to the merchants trade, there existed a simultaneous cultural exchange which was affected by new media and new forms of knowledge. The introduction of oil painting to China and the circulation of merchant portraits are a case in point. The hong merchant portraits offered a stage for the performance of a carefully constructed and imagined identity that encapsulated a range of desires and aspirations for elite status within China. Furthermore, these portraits also served as an important mode of exchange with, and for, European viewers. This identity was a performance of status and class both in the imagination of the hong merchant, but also one performed for foreign traders who would see these images. The portraits of the hong merchants thus embody diverse social dimensions where the subject is embedded within a network of references to class, rank, and demeanour. Using the medium of oil paint, the illusion of the image extended beyond the use of shadow and perspective as the portraits inscribed an identity for the hong merchant that was at once elusive and illusive. / Arts, Faculty of / Art History, Visual Art and Theory, Department of / Graduate

A Dissertation Submitted to the Faculty of Arts. University of the Witwatersrand, Johannesburg, in partial fulfilment of the requirements for the Degree of Master of Arts in Fine Arts. Johannesburg 1996 / Likeness is a central issue to the tradition of portrait painting. This dissertation examines the notion of likeness in some contemporary high portrait painting. Likeness is viewed as constructed socially through the complex relations between artist, sitter and viewer. Faced with the problematic notions of realism and naturalism and their philosophical ramifications, the dissertation confronts the question of What in our world can be regarded as natural or given, and what is constructed or acquired. The discussion, framed by the debate set up between Nelson Goodman and E.H. Gombrich, leads to the conclusion that the 'natural' and the 'real' are not neutral, they are highly constructed. The dIfferences between various conventions; various ways of representing others, are extrapolated from the debate, and once acknowledged. the final position taken is a less linear conventionalist stance. The constructed nature of likeness is tested against the portraits by American artist, Andy Warhol and British artist. Lucian Freud, contemporary painters working in direct antithesis to one another. The aim is to show that both of their portrait likenesses. whether private or public, painterly Or mechanical, are embedded within socially constructed conventions. Recognition of 'the conventions can guide the viewer in deconstructing the work and locating the meaning. I discuss my own work in relation to the contents of this dissertation.

賴筠婷. / "2011年9月". / "2011 nian 9 yue". / Thesis (M.F.A.)--Chinese University of Hong Kong, 2011. / Includes bibliographical references (leaves 28-33). / Abstracts in Chinese and English. / Lai Yunting. / 論文摘要 --- p.i / 鳴謝 --- p.iii / 目錄 --- p.iv / 引言 --- p.1 / Chapter 第一章 --- 家庭題材的中國人物畫 / Chapter 甲、 --- 1911-1949年的中國畫壇狀況 --- p.2-4 / Chapter 乙、 --- 1949-1965年的相關作品 --- p.5-6 / Chapter 丙、 --- 1966-1976年的相關作品 --- p.7 / Chapter 丁、 --- 1977-2009年的相關作品 --- p.8-11 / Chapter 第二章 --- 家庭題材人物畫內容分析 / Chapter 甲、 --- 人物的組合 --- p.12-13 / Chapter 乙、 --- 人物的活動 --- p.14-17 / Chapter 丙、 --- 作品表現手法 --- p.18-19 / Chapter 第三章 --- 總結 --- p.20-21 / Chapter 附錄I --- 個人創作探討 --- p.22-23 / Chapter 附錄II --- 畢業作品圖錄 --- p.24-27 / 參考書目 --- p.28-31 / 版圖目錄 --- p.32-33 / 版圖 --- p.34-44

Thèse--Université de Paris. / "Bibliographie": p. [183]-186.