No description available.

Thesis (M.F.A.)--Rochester Institute of Technology, 1982. / Typescript. Includes bibliographical references (leaf 30).

Thesis--Basel. / Vita. Includes bibliographical references (p. 286-294).

Orientador(a): Omar Khouri / Banca: Agnaldo Valente Germano da Silva / Banca: Ana Lucia Gimenez Ribeiro Lupinacci / Resumo: Essa pesquisa tem por objetivo esclarecer algumas questões que cercam a obra de Sebastião Salgado. Partindo do princípio de que o olhar contemporâneo do fotógrafo busca um registro pessoal de uma realidade frágil e sofrida no Brasil e ao redor do mundo, numa espécie de crítica à era pós-revoluções industriais, o estudo procurou mostrar que há um certo romantismo nessa abordagem. As fotografias, que vão além do mero registro objetivo dos fatos, ultrapassam as fronteiras do fotojornalismo e alcançam níveis de subjetividade tão intensos que estabelecem através de suas figuras e paisagens, não apenas um diálogo sensível com o espectador, mas uma estética que se aproxima da linguagem dos pintores românticos. Para tornar mais visível e clara essa análise, optou-se por um recorte cronológico das fotografias produzidas entre 1984 e 2000, período em que o fotógrafo mostrou o ser humano como vítima de um mundo consumido pelos efeitos das revoluções industriais. Através dessas fotografias, foi traçado um percurso de pesquisa que procurou construir possíveis relações de intertextualidade com pinturas românticas do século XIX, que também encontraram na subjetividade uma forma de expressar as próprias reações à nova realidade que se formava no período. A pesquisa buscou nos valores estruturais e temáticos das fotografias e das pinturas seus pontos de convergência, usando a metodologia iconográfica e iconológica de Erwin Panofsky. Essas relações revelaram que as fotografias de Sebastião... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: This research aims to clarify some issues surrounding the work of Sebastião Salgado. Assuming that the contemporary look of the photographer seeks a personal record of a fragile and suffered reality in Brazil and around the world, in a kind of criticism of the post-industrial revolutions era, the study tried to show that there is a certain romanticism in this approach. The research demonstrated that the photos, which go beyond the mere objective record of events, also go beyond the boundaries of photojournalism and reach such intense levels of subjectivity that they establish through their figures and landscapes, not only a sensitive dialogue with the viewer, but an aesthetics approaching the language of romantic painters. To make this analysis more visible and clear, a chronological cut of the photographs produced between 1984 and 2000 was chosen, during which the photographer showed the human being as a victim of a world consumed by the effects of industrial revolutions. Through these photographs, a research course was traced that seeks to build possible intertextual relations with 19th century romantic paintings, which also found in subjectivity a way of expressing their own reactions to the new reality that was formed in this period. The research sought the point of convergences between the structural and thematic values of photographs and paintings, using the iconographic and iconological methodology of Erwin Panofsky. These conections revealed that Sebastião Salgado's... (Complete abstract click electronic access below) / Mestre

Thesis (Ph. D.)--University of California, Los Angeles--Art History, 1982. / Vita. "A copy of this doctoral dissertation with the plates and three supplemental catalogues is on file at the Art Library of the University of California, Los Angeles." eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 235-238).

Diss.--Zürich. / Bibliography: p. 83-90.

No description available.

Thesis (MA)--Stellenbosch University, 2015. / ENGLISH ABSTRACT: This study explores the significance of landscape painting in my own work and in the work of Moses Tladi, one of the lesser-known SA pioneer artists working in the oil painting convention. Through a Romantic lens, I argue that Tladi’s paintings exist as record of his experiences, thoughts and emotions, making use of a hermeneutics ‘from within’, rather than one aimed at Realist exposition. While employing such a hermeneutics in my own practice, I seek out points of connection between Tladi and myself, as well as explore if and to what degree our different socio-political circumstances shape our practices. In part one of the thesis I sketch a narrative backdrop to the era in which Tladi lived and of his relationship to his patrons, mentors and the establishment. I explore his work in relation to popular conventions at the time, matters of modernism and abstraction, as well as to some degree how the landscape genre functions in terms of class. The overall argument is divided in two parts, that of the metaphorical ‘Garden’ and that of the ‘Wilderness’. With this divide I aim to reveal how Tladi employs the transcendent both in the sublime expanse of Sekhukhuneland and in his domestic, everyday reality. The ideological relationship between the Garden and Wilderness is examined in terms of theories on landscape, imperialism and the Lutheran missionary project. In the second part I describe my own work and discuss the contribution it makes. While alluding to many of the devices already discussed in Tladi’s work, I sketch the context in which my own paintings were made and explain some of my stylistic and curatorial choices. In demonstrating how our techniques and methodologies overlap, I aim to cristallise some of the theoretical themes explored. / AFRIKAANSE OPSOMMING: Hierdie studie handel oor die belang van landskapskilder in my eie werk en in the werk van Moses Tladi, een van Suid-Afrika se minder bekende pionier-kunstenaars in die olieverftradisie. Ek argumenteer, deur ’n Romantiese blik, dat Tladi se werk as rekord verskyn van sy ervarings, gedagtes en emosies. In hierdie opsig is sy hermeneutiek ‘inwaarts’ gekeer, eerder as gefokus op die Realistiese ontbloting van sekere sosiale kwessies. Terwyl ek in my eie skilderpraktyk ook van so ’n hermeneutiek gebruik maak, soek ek raakpunte tussen my en Tladi se werk onderwyl ek ondersoek of, en tot watter mate, ons verskillende sosio-politiese omstandighede ons werk vorm. In Deel Een van die tesis skets ek ’n narratiewe agtergrond tot die era waarin Tladi geleef het en kyk na sy verhouding met sy beskermhere (“patrons”), sy mentors en die kunsstigting. Ek ondersoek Tladi se werk aan die hand van populêre konvensies van sy tyd sowel as kwessies van Modernisme en abstraksie. Ek kyk ook vlugtig na hoe die landskap-genre ten opsigte van sosiale stand funksioneer. My algehele argument het twee afdelings, die metafoor van die ‘Tuin’, en dié van die ‘Wildernis’. Met hierdie verdeling beoog ek om te wys hoe Tladi transendente aspekte voorstel in die uitgestrekte, ontsagwekkende landskappe van Sekhukhuneland, maar ook in sy alledaagse, sosiale realiteit. Die ideologiese verhouding tussen die Tuin en die Wildernis word verder ondersoek ten opsigte van teorieë oor landskap, imperialisme en die sendingpraktyke van die Lutherse Kerk. In Deel Twee beskryf ek my eie werk sowel as die bydrae wat dit maak. Ek beskryf die konteks waarin sommige van die skilderye gemaak is, bespreek hul inhoud, en kyk na spesifieke stilistiese en kuratoriale keuses. Deurentyd raak ek aan die tegnieke en temas wat alreeds bespreek is in die afdeling oor Tladi. Deur te demonstreer hoe my en Tladi se tegniek en metodologie oorvleuel, hoop ek om die teoretiese temas wat reeds ondersoek is, te kristalliseer.

Thesis (MFineArt)--University of Melbourne, Victorian College of the Arts, [2003]., VCA Art, Faculty of the Victorian College of the Arts and Music, 2009. / Typescript. Includes bibliographical references (leaves 34-36)

Habilitationsschrift--Rheinische Friedrich-Wilhelms-Universität Berlin. / Bibliography: p. 329-342.