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  • About
  • The Global ETD Search service is a free service for researchers to find electronic theses and dissertations. This service is provided by the Networked Digital Library of Theses and Dissertations.
    Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
1

The developing child in three portraits by Anne-Louis Girodet

Higley, Morgan. Yonan, Michael Elia. January 2009 (has links)
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.
2

"Le portrait du roi" Staatsporträt und Kunsttheorie in der Epoche Ludwigs XIV. : zur Gestaltikonographie des spätbarocken Herrscherporträts in Frankreich /

Mai, Ekkehard. January 1975 (has links)
Thesis--Bonn. / Vita. Bibliography: p. 257-279.
3

"Le portrait du roi" Staatsporträt und Kunsttheorie in der Epoche Ludwigs XIV. : zur Gestaltikonographie des spätbarocken Herrscherporträts in Frankreich /

Mai, Ekkehard. January 1975 (has links)
Thesis--Bonn. / Vita. Bibliography: p. 257-279.
4

Adélaide Labille-Guiard and Elisabeth Vigée-Lebrun: Portraitists in the Age of the French Revolution

Carlisle, Tara McDermott 08 1900 (has links)
This thesis examines the portraiture of Elisabeth Vigée-Lebrun and Adélaide Labille-Guiard within the context of their time. Analysis of specific portraits in American collections is provided, along with an examination of their careers: early education, Academic Royale membership, Salon exhibitions, and the French Revolution. Discussion includes the artists' opposing stylistic heritages, as well as the influences of their patronage, the French art academy and art criticism. This study finds that Salon critics compared their paintings, but not with the intention of creating a bitter personal and professional rivalry between them as presumed by some twentieth-century art historians. This thesis concludes those critics simply addressed their opposing artistic styles and that no such rivalry existed.

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