Thesis (M.F.A.)--Rochester Institute of Technology, 1984. / Typescript. Includes bibliographical references (leaf 30).

Bernard Van Orley’s 1524 preparatory drawings for tapestries depicting The Story of Romulus and Remus have, until now, been largely ignored by art historical scholarship. The only signed and dated drawings in the artist’s oeuvre, they serve as a valuable tool for establishing a system of attribution for Van Orley’s work, particularly in tapestry. Van Orley was the leading tapestry designer in Brussels during the first few decades of the sixteenth century. He was the official court painter to Margaret of Austria and enjoyed a continuous stream of high-end commissions, which he used to experiment with new techniques in representation and compositional arrangement. Van Orley’s career thus exemplifies the significant changes in Flemish tapestry production that occurred during this time. This study examines all aspects of the drawings’ creation from their commission to their possible application in the weaving process. There is no surviving documentation regarding the commission for the project. A tentative case is made here for Margaret of Austria as the patron, working on behalf of her nephew, Charles V. The choice of subject and narrative treatment are considered in the context of the rising popularity of classical themes during the Renaissance. Stylistically, the drawings represent the moment of convergence of artistic influences on Van Orley from his contemporaries in both Italy and the North. From its origins through the late fifteenth century, tapestry was intended as a two-dimensional decorative wall hanging. Van Orley’s development of a distinct Brussels style blurred the distinctions between the viewer’s space and the narrative image. This new concept extended both the width and depth of space in tapestry and lent itself well to dramatic historiated designs that rivaled developments in contemporary painting. The drawings represent a definitive design stage within the complicated, multi-step collaborative process of Brussels tapestry production. The fact that they survive in such good condition is evidence of their importance as possible workshop models and later on as collectible works of art. / text

Dovecot Studios (also known as Dovecot) was established in 1912 by the 4th Marquess of Bute (1881-1947) for the purpose of weaving large historical tapestries for his many residences, primarily Mount Stuart on the Isle of Bute. The tapestries produced were all woven by hand, using the traditional Gobelins technique, and were primarily intended as wall hangings. After the Second World War, the studio began collaborating with external designers, inviting well-known contemporary artists to submit tapestry designs. My overall research question has been: ‘How has a wide range of artists responded to the opportunity to design tapestries for Dovecot Studios?’ The thesis addresses this question using a chronological structure and focuses on the years 1945 to 1970, a period of flux, constant change and rapid development at the studio. The broader narrative is interspersed with case studies on particular artist-designers: Graham Sutherland(1903-1980), Sax Shaw(1916-2000), Joyce Conwy Evans (b.1929) and Harold Cohen (b.1928). These allow a detailed exploration of how four individual artists designed tapestries for Dovecot, and how their tapestry designs relate to their wider creative practice. The history of the studio during this period was also shaped by individual personalities in the roles of Director, Artistic Director and Head Weaver. In the 1940s the Directors chose to weave small panels for the wealthy domestic market but as big business grew in the 1960s so too did the studio’s ambitions and it began receiving large site-specific commissions for new and refurbished buildings. Throughout this period it is evident that the artistic decisions of the studio’s directors were underpinned by financial concerns as they attempted to establish Dovecot as a commercial organisation, against the backdrop of broader economic changes and cultural and social movements in Great Britain and abroad. This in-depth examination of the development of Dovecot Studios over a twenty-five year period reveals a complex organisation, in which the inter-relationships between artist-designers, weavers, patrons and studio directors changed and adapted. In particular, artists and weavers increasingly worked as partners, trying to find a balance between artistic control for the artist as designer and interpretive freedom for the weavers as creative practitioners. This working relationship required a delicate balance and its dynamics were sensitive to the different requirements of speculative and commissioned tapestries. The thesis argues that each tapestry must be viewed as the product of both designer and weaver(s), challenging the tradition of only attributing a tapestry to its designers, not its makers. The thesis also reflects on Dovecot’s relationship with tapestry practice in post-war Europe.

I'll make a big, yellow tapestry. In the project I'll examine textures and surfaces in a monumental tapestry, and the translation of an image into a tapestry through reliefs and materials. I'm a tapestry weaver, and in this project I'll work with structures and the sculptural aspect of weaving in an abstract tapestry. My aim for my textiles in general is to give the viewer a sublime feeling when they meet my work. In an extended scene this is a textile version of a photography. When I look at something for a long amount of time, it'll turn into structures, then the image itself is not so important anymore but the memory of it. This is a tapestry where I have turned this memories into structures in textile material. This project is a research in many various woven structures and techniques, which is arranged intuitively. It doesn't have a specific message but to re-create the sense of many and complex feelings. The different structures portrays the process of memories, like solitude, fears, tenderness, abstraction/imagination and concrete reality. This tapestry is the result of many experiments with the form and structure.

Thesis (Ph. D.)--Yale University, 1982. / "Plates in volume 2 have not been filmed at the request of the author. They are available for consultation, however, at Yale University"--Colophon. Includes bibliographical references (v. 1, leaves 187-207).

The corpus of literature on the Lady and The Unicorn tapestries has most often focussed on technical/stylistic aspects or attempted to explain the iconography of this work with little definitive consensus in either domain. An informative element in the history of this problematic work is the patron, who played a primordial role in the artistic process of the late Middle Ages. Although the patron of our subject has been identified as Jean LeViste and his personal and family history is relatively well-documented, few attempts have been made to place this work in the context of his reality. An investigation of the figure and his milieu will certainly benefit our understanding of the themes of heraldic display and courtly love that are most often proposed to interpret our work. The patron's situation will bring us to a new level of interpretation in this work---the glorification of women---which, like the other themes represented throughout this series, served the interests of the patron and reflected his reality.

Thesis (M.F.A.)--Rochester Institute of Technology, 1983. / Typescript. Includes bibliographical references (leaves 24-26).

No description available.

Cílem práce je zobrazit vývoj webových aplikací na platformě Java, představit javovské webové frameworky Struts, WebWork, Velocity a Tapestry, vytvořit metodiku pro porovnání těchto frameworků a porovnat je podle metodiky tak, aby si čtenář mohl zvolit framework, který bude jeho aplikaci nejlépe vyhovovat. První část, která končí kapitolou číslo tři, popisuje vývoj webových aplikací od počátku až k javovským webovým frameworkům a představí zkoumané frameworky. Pro konkrétní představu jsou zde popsány programy naprogramované ve všech frameworcích. Ve druhé části je vytvořena metodika a frameworky jsou podle ní porovnány. Na závěr jsou shrnuta pozitiva i negativa daných frameworků.

Thesis (M.F.A.)--Rochester Institute of Technology, 1990. / Typescript. Includes bibliographical references (leaf 50).