Magister Artium - MA / This study focuses on how we can interpret political meanings embedded in Gladys Mgudlandlu’s work by concentrating on her landscapes, murals, and portraits during the period of the 1960s – 1980s. The core of my thesis is to question whether the artwork of Mgudlandlu was political. The thesis argues that Mgundlandlu’s talents and interventions have been overlooked and undermined. Engaging with a deep analysis of the context in which Mgudlandlu lived and worked, a visual analysis of her paintings and a discussion on the meaning of her life and work from various vantage points across time substantiates the above argument. The study engages with three fundamental approaches. Firstly it approaches Mgudlandlu’s work through how it is articulated and historicized as part of the struggle against apartheid in South Africa before 1994. Here I disrupt the idea that her work was out of touch with reality and that her work was of a naivety that isolated herself from the struggles of black people. I further argue that her work transcends the norms and expectations of black artists during this period. Her work in many ways challenges stereotypes and broke social conventions by painting landscape: something which was mostly associated with older white male artists. Thus I advocate for a reconsideration of her work by revisiting her landscape painting which carries most of the weight of my argument regarding Mgudlandlu’s political stand. My second approach is to explore the production and process of her work by concentrating on cultural workshops and their role in South African art during the apartheid period. Mgudlandlu’s creation and production process was very different from her counterparts which is explored through a careful analysis of Mgudlandlu’s paintings.

Thesis (M.S.V.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1982. / MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH. / Bibliography: leaf 59. / This thesis consists of four parts. Part one is a written dialogue in which I respond to the words and the thoughts of the photographer, Diane Arbus. Through responding to Arbus' thoughts, I had hoped to make clear my own thoughts and feelings about photography and the reasons why I photograph. Part two is a description with drawn sketches. It describes my original plan for the public presentations of my project. Part Three consists of photographic collages with brief written descriptions. It describes the actual public presentations that took place. Part four is a written description of the public presentation project including: l. My original concept and motivation for doing the project. 2. A description of how the concept evolved into its final physical form. 3. What participation in the project meant to the participants and myself. / by Hideji Nagura. / M.S.V.S.

Thesis (Ph. D.)--School of Education and Dept. of Sociology. University of Missouri--Kansas City, 2007. / "A dissertation in education and sociology." Advisor: Malcolm Linville. Typescript. Vita. Title from "catalog record" of the print edition Description based on contents viewed Dec. 20, 2007. Includes bibliographical references (leaves 267-283). Online version of the print edition.

Thesis (MA--Art and Design) -- AUT University, 2005. / Cover title. Includes bibliographical references. Also held in print (xxii, 85 leaves : col. ill. ; 30 cm.) in City Campus Collection (T 707 JOE)

D.E.A.--Histoire et civilisation--EHESS, 2003. / Bibliogr. p. 86-98.

Thesis--Utrecht. / Includes index.

Not available / text

This thesis explores the public image of Thomas Jefferson as recorded in his major life portraits. It consults the traditions that surrounded eighteenth-century portraiture and the history of the portrait as a means of expressing authority, power, and personal interest. This study contends that Jefferson worked within these traditions and fashioned and refashioned an image that promoted his vision of American republicanism. Therefore, it places each portrait within the context of the sociopolitical environment in which it was created and considers Jefferson’s political motives and actions against these recorded images. This departs from previous works that stopped with an identification of the life portraits, a discussion of the artist, and an evaluation of the merits of the portrait as a work of art. Rather it builds upon these earlier studies to approach Jefferson’s use of the portrait to manage his image and advance his political and ideological aims for the newly formed nation. The goal of this thesis is to offer an enlarged and diverse assessment of this leading founder of the American republic through the public image he created in his life portraits.

This creative project is a series of self portraits, records of self and the stamp of culture that is placed on the physical body. In the series of prints and handmade books described in these pages, self-portrait provides a vehicle for examining creativity and humanity, self-image as a reflection on women, and autobiography as a means of cultural storytelling. / Department of Art

A theatrical portrait is an image of an actor or actors in character. This genre was widespread in eighteenth century London and was practised by a large number of painters and engravers of all levels of ability. The sources of the genre lay in a number of diverse styles of art, including the court portraits of Lely and Kneller and the fetes galantes of Watteau and Mercier. Three types of media for theatrical portraits were particularly prevalent in London, between c.1745 and 1800 : painting, print and book illustration. All three offered some form of publicity to the actor, and allowed patrons and buyers to recollect a memorable - performance of a play. Several factors governed the artist's choice of actor, character and play. Popular or unusual productions of plays were nearly always accompanied by some form of actor portrait, although there are eighteenth century portraits which do not appear to reflect any particular performance at all. Details of costume in these works usually reflected fashions of the contemporary stage, although some artists occasionally invented costumes to suit their own ends. Gesture and expression of the actors in theatrical portraits also tended to follow stage convention, and some definite parallels between gestures of actors in theatrical portraits and contemporary descriptions of those actors can be made. Theatrical portraiture on the eighteenth century model continued into the nineteenth century, but its form changed with the changing styles of acting. However the art continued to be largely commercial and ephemeral, and in its very ephemerality lies its importance as a part of the social history of the eighteenth century.