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published_or_final_version / abstract / Humanities / Master / Master of Philosophy

This study offers a history of the concept of realism in portrait photography through the examination of a set of categories that have colored photographic practices since the origins of the medium in 1839: the posed and the candid. The first section of this study deals with the practices of posing in early photography, with chapters on the daguerreotype, the carte de visite, and the amateur snapshot photograph. Considering technological advances in conjunction with prevailing cultural mores and aesthetic practices, this section traces the changing cultural meaning of the portrait photograph, the obsolescence of the pose, and the emergence of an "unposed" aesthetic in photography. The second section of this study examines three key photographers and their strategies of photographic representation, all of which involved candid photography: it looks at Erich Salomon's pioneering photojournalism, Humphrey Spender's politicized sociological photography, and Walker Evans' complex maneuvering of the documentary form. Here, the emphasis is on the ways in which the trope of the candid informed these three distinct spheres of photography in the early 20th century, and the ways in which the photographic aesthetic of candor cohered with--or contested--political and cultural developments of the interwar period in Germany, Britain, and the United States.

The central premise of this research is the paradox between idealism and realism in the visual arts in the context of the themes of maturation, old age and mortality. Throughout the history of art there have been artworks that feature the realistic representation of this theme in contrast to traditional idealistic trends. Selected artworks are highlighted from different art-historical periods in western art history dating from antiquity to contemporary times. These dates include artworks from the Hellenistic art of ancient Greece, Roman art and some examples from the middle ages. This theme flourished in the early modern period and in the 17th century, resulting in some artworks only being mentioned. The 19th and 20l centuries show less interest in this subject, therefore the examples are rare. Finally I examine my own art and my interest in the theme of old age in relation to a few examples of contemporary South African art. Old age is a social and cultural phenomenon, therefore the socio-political, anthropological, philosophical and cultural influences in each period are briefly investigated. The manifestation of this theme is initially concurrent with the development of realism in art history and the changes in art theory and criticism, but other factors are revealed in the course of this research which indicate that this subject has a bearing on moral and spiritual enquiry. In conclusion, it is anticipated that this discourse will enlighten the reader to the mysterious workings of the human creative nature and psyche that are stimulated by such topics as old age and mortality. / Thesis (M.A.)-University of KwaZulu-natal, Pietermaritzburg, 2007.

Thesis (Ph.D) - University of Queensland, 2007. / Includes bibliography.

M.Tech. Fine and Applied Arts. / This study explores the Platonic notion of idealism, specifically applied to the botanical imagery represented in Renaissance paintings and its enamelled jewellery counterparts, as an aid in contemporary enamelled jewellery design. The same process of idealisation found in Renaissance painting and enamel jewels, is applied to South African botanical motifs, which creates a stylistic departure from the botanical images used during the Renaissance. This research employs a literary review on the thought and theory of idealism and its link with Renaissance painting and enamelled jewellery. Images and information on selected Renaissance paintings and enamelled jewellery incorporating botanical motifs are compared and analysed in order to investigate the progression of the idealised motif. Through the analysis of Renaissance jewellery, the basic design framework that was employed in the designing of the piece becomes apparent. The enamelling techniques, types, colours and motifs are re-applied using the notion of idealisation, to South African botanical motifs and a design framework is constructed for contemporary enamel jewellery. This study demonstrates the application of an historical design principle to contemporary jewellery design. As a result, unique collections of enamelled contemporary jewellery are created, translated from the Renaissance idealised botanical motifs into a South African context.

It is a basic truth that the artist must have independent experience and personality in order to create art from life. Combining a traditional realistic style with some elements of abstract composition fits my personality. My paintings represent a pursuit of this idea that is the enhanced realism in the development of my painting.

Symbols connect our deepest thoughts with our senses. This thesis explores the Alchemical symbols, developed by mythical deity Hermes Trismegistus, whose symbols remnant of geometric shapes represent the classical elements of Earth, Water, Fire and Air. Watercolor, graphite, and gesso are my primary materials as they can be manipulated by the classical element of water. With this, I can create representations of the symbols through the language of drawing. The audience is invited to open their thoughts and all senses to the Alchemical symbols and the distinctive forms that appear from the visual mixture of the materials. / Includes bibliography. / Thesis (M.A.)--Florida Atlantic University, 2014. / FAU Electronic Theses and Dissertations Collection

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