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This thesis investigates the development of the biography of the Baroque portrait painter, Mary Beale (1633-1699), through historiography. The conventional gendered construction of Mary, primarily as a wife and mother, and secondarily as an artist, will be traced and examined, from the earliest art historical references to her, to the most recent. / Graduate

The professional auto body painter works in an extreme environment, where the painter faces constant movement, ever-changing working situations and pressure to deliver a flawless paint job: the paint booth. The temperature in the paint booth is high, often around 30˚ Celsius. The floor is very hard, made of metal grid or concrete, and the painter usually has to move around a lot, at least 9 km per day. For this project I chose to focus on the painter’s work footwear as a major part of the personal protective equipment. My goal is to create a new standard in working shoes, specifically made for this environment and context. A comfortable shoe that could withstand heat, paint dust and wear. A shoe that is made for its users: the FRM AIRCON.

The Painter’s Wife and Other Stories is a novella and a collection of short fiction focusing on the lives of women and men in the contemporary Western United States. In their exploration of Western life, the novella and short stories subvert the popular mythology of the West. The novella and stories are set in one of three Colorado settings: the city of Denver, the rural Western slope, and the mountain communities of the Western Slope. Beyond being linked by region, the stories are also loosely linked by characters. Characters from one story are mentioned or make brief appearances in others, reinforcing the idea of a people connected by community and landscape.

Thesis (M.F.A.)--University of Canterbury, 2009. / Typescript (photocopy). Includes bibliographical references (leaves 34-39). Also available via the World Wide Web.

The Painter’s Wife and Other Stories is a novella and a collection of short fiction focusing on the lives of women and men in the contemporary Western United States. In their exploration of Western life, the novella and short stories subvert the popular mythology of the West. The novella and stories are set in one of three Colorado settings: the city of Denver, the rural Western slope, and the mountain communities of the Western Slope. Beyond being linked by region, the stories are also loosely linked by characters. Characters from one story are mentioned or make brief appearances in others, reinforcing the idea of a people connected by community and landscape.

This thesis deals with a significant art teacher and painter Alois Toufar. It monitors progress of his professional activity with emphasis on the term "Brtnicky krouzek" as well as territory of Toufar´s not only professional activity. As opposed to all the other published and rather patchy works about Alois Toufar, this thesis essentially uses oral information sources, which in result give much more stereoscopic images about the life of Alois Toufar as a significant person in art education with not only regional importance. Expected benefit of this thesis is the improvement of current ability of children's speech and particularly mapping life and career of significant personality of art education, which is not too exposed today.

Submitted by Fabio Sobreira Campos da Costa (fabio.sobreira@ufpe.br) on 2016-07-14T13:40:53Z No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) Tese_COMPLETA_Finizola_BC.pdf: 15017973 bytes, checksum: ec16e9c5e202e4748ef88679ad0dbd31 (MD5) / Made available in DSpace on 2016-07-14T13:40:53Z (GMT). No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) Tese_COMPLETA_Finizola_BC.pdf: 15017973 bytes, checksum: ec16e9c5e202e4748ef88679ad0dbd31 (MD5) Previous issue date: 2015-02-27 / Manifestações espontâneas provenientes do design informal caminham lado a lado com a produção do design formal e por vezes se perdem na sua efemeridade por falta de registro ou por falta de reconhecimento pela academia e pelo mercado. Os letreiramentos populares podem ser incluídos neste universo e se caracterizam como artefatos de comunicação que figuram na paisagem urbana de inúmeras cidades, desde o centro à periferia. Elaborados por meio de processos manuais, são executados em sua grande maioria por artífices anônimos, caracterizando-se como interferências tipográficas urbanas. Assim, esta pesquisa tem como objetivo geral o estudo da tradição do letreiramento popular no Estado de Pernambuco, a partir da análise de seus aspectos formais e de sua prática, bem como da investigação inicial de suas origens, buscando traçar um perfil da produção destes artefatos nesta região, com ênfase em seus aspectos tipográficos. Para isso, foi desenvolvido um mapeamento dos letreiramentos e de seus originadores — os pintores de letras — em seis cidades de Pernambuco: Recife, Gravatá, Caruaru, Arcoverde, Salgueiro e Petrolina. Portanto, este projeto se propôs a dar continuidade à pesquisa de mestrado Panorama Tipográfico dos Letreiramentos Populares – Um estudo de caso na cidade do Recife, parte integrante do projeto de pesquisa Memória Gráfica Brasileira: Uma análise comparativa das cidades do Rio de Janeiro, São Paulo e Recife (PROCAD/CAPES), ampliando, desta forma, o seu corpus analítico e aperfeiçoando seus instrumentos de análise, a fim de validar, em outros territórios, as hipóteses e conclusões da pesquisa anterior, bem como reunir novas informações a respeito deste tema. Ao longo da extensa pesquisa de campo realizada, foram registradas mais de mil imagens e entrevistados doze pintores de letras da região. Também foram visitados alguns acervos de livros e imagens da Fundação Joaquim Nabuco, do Instituto Ricardo Brennand e do Museu da Cidade do Recife. Ao final da pesquisa, os dados coletados nos permitiram: (1) Investigar a presença e características dos letreiramentos na paisagem urbana do Estado entre o final do século XIX até a década de 1950; (2) Validar os aspectos tipográficos dos letreiramentos populares, bem como a classificação elaborada por Finizola em 2010 para os letreiramentos populares do Recife, abordando um corpus analítico mais amplo; (3) Entender a prática do ofício do pintor de letras no Estado de Pernambuco, suas inspirações, processo de aprendizado, materiais e técnicas empregadas, entre outros aspectos. / Spontaneous manifestations from the universe of informal design go hand in hand with the production of formal design, and very often become lost within their own ephemerality because either they remain unrecorded or they receive no academic or market recognition. Vernacular lettering and graphics may be included within this universe and are characterized as communication artefacts that figure across the urban landscape of many cities, extending from the city centers out to the suburbs. Developed through the use of manual processes, they are mostly undertaken by anonymous craftsmen, and categorized as typographical urban interference. The main aim of this research has been to study the tradition of vernacular lettering in the state of Pernambuco, analyzing both the formal and practical aspects, as well as an initial investigation into its origins, seeking to trace a profile of the production of these artifacts within this region, emphasizing their typographic aspects. In order to do this, we have mapped out the lettering, together with the originators - the sign painters – across six cities/towns within the state of Pernambuco: Recife, Gravatá, Caruaru, Arcoverde, Salgueiro and Petrolina. Thus, this project proposes a continuation of the master’s research entitled A typographic panorama of vernacular lettering - a case study in Recife, which was an integral part of the research project The Brazilian graphic memory: a comparative analysis of the cities of Rio de Janeiro, Sao Paulo and Recife (PROCAD/CAPES). Hence, we have broadened the analysis and improved the analytical tools in order to validate the hypotheses and conclusions of previous studies in other territories, as well as gathering fresh information regarding this theme. Throughout the extensive field research, we collected more than 1000 photographic records and interviewed 12 craftsmen. We also visited several book and image collections at the Joaquim Nabuco Foundation, the Ricardo Brennand Institute and the Museum of Recife. On conclusion of our research, the collected data has permitted us: (1) to investigate the presence and characteristics of vernacular lettering within the urban landscape of the state between the end of the 19th century and the 1950s; (2) to validate, within a broader analytical sense, the typographical aspects of vernacular lettering and the classification developed by Finizola in 2010 for vernacular lettering in Recife, and (3) to understand, amongst other items, the craft of lettering in the state of Pernambuco, its inspirations, the learning process and the materials and techniques employed.

The aim of this study is twofold: firstly, to give a general and broad picture of the painter, W.H. Coetzer as a person and as an artist; secondly, to stress the cultural historic importance of his work. His faithful execution of events in the history of our nation has contributed significantly to the history of South African Art. He inherited his artistic talent solely from his mother. His youth was a time of hardships. His father died when Coetzer was still young. Notwithstanding his duties in supporting his family he turned his back upon a career of wagon-building and dedicated himself with self-assurance exclusively to the art of painting. After numerous initial setbacks his work came to the notice of a few prominent Johannesburg art connoisseurs in 1928. Through their active aid Coetzer could study intermittently at schools of art in London between the years 1925 and 1934, where he received a course aimed at thorough academic training. Returning to South Africa, a period of hardships followed. It was a struggle to have his work accredited. In these years he started feeling it a calling to fulfil a national role as artist. He undertook a thorough study of the history of South Africa and more specifically of the Great Trek. He followed the various routes of the Voortrekkers, making numerous sketches and notes on the way. Con¬sequently, within a few years, he received several commissions from public institutions. To commemorate the historic Trek by wagon (1938) and the inauguration of the Voortrekker Monument (1949), he designed a series of special stamps, dust-covers for publications and various memento's. These brought him acknowledgement as a "national" artist. Coetzer's sketch designs for the historic frieze in the Monument served as the first-indicators and contributed to the unity-existing in the work today. Apart from commissions for portraits of personalities of national importance, public demand for his landscape and still-life paintings increased rapidly. After his marriage in 1942 he came to own, for the first time, a spacious and well-equipped studio. Coetzer's six most frugal years as creative artist were devoted to the designing of the series of tapestries in the Voortrekker Monument. This creation can perhaps be regarded as the climax of his cultural historic art. Coetzer's admiration for the Trekker leader, Louis Trigardt, inspired the creation of his last and biggest mural, "For you, South Africa", painted for the T.P.A. Building in Pretoria. Although known for his works on an historic level, Coetzer is not bound by this theme which required factual rigidity; today he paints according to the inspiration of the moment and for the pleasure it gives him. As a versatile artist adept in handling various media of art, the past forty years have witnessed paintings of divergent nature. His landscapes vary from grandiose, impressive mountain scenes to humble interpretations of Highveld winter lanscapes. It is, however, his Still-life paintings that assert his skill as artist most highly. Today W.H. Coetzer's paintings are resplendent in many public and private collections and will always testify to the history of his nation and will serve as herald to the beauty of his native land. / AFRIKAANS : Die doelstelling met hierdie studie is tweeledig: Eerstens om ‘n algemene en oorsigtelike beeld van die skilder W.H. Coetzer as mens en kunstenaar te gee; tweedens om sy kultuurhistoriese betekenis te benadruk. Met sy uitbeelding van gebeurtenisse uit ons volksgeskiedenis, en die histories-korrekte, realistiese weergawe daarvan, het W.H. Coetzer ‘n groot kultuurhistoriese bydrae tot die Suid-Afrikaanse kunsgeskiedenis gelewer. Hy het sy kunsaanleg uitsluitlik van sy moeder geëerf. Sy jeugjare is gekenmerk deur swaarkry. Sy vader het hulle vroeg ontval. Nie-teenstaande sy verpligtinge om te help met die onderhoud van sy familie, het hy met kenmerkende selfvertroue die wamakery in 1925 laat vaar en hom voltyds op ‘n kunsloopbaan toegelê. Na herhaalde teleurstellings het sy werk in 1928 onder die aandag van ‘n paar Johannesburgse kunskenners gekom. Deur hulle daadwerklike hulp kon Coetzer, met onderbreking, van 1928 af tot 1934 aan Londense kunsskole studeer. Daar het hy deeglike, akademies-gerigte opleiding ontvang en goed presteer. Na sy terugkeer in Suid-Afrika volg ‘n periode van stryd om erkenning vir sy kuns. In hierdie jare ontwikkel by Coetzer die drang om as kunstenaar ‘n nasionale roeping te vervul. Hy onderneem ‘n deeglike studie van die Suid-Afrikaanse geskiedenis, veral die Groot Trek, en maak talle sketse en aantekeninge op sy reise langs die ou Voortrekkerroetes. Binne ‘n paar jaar verwerf hy op hierdie wyse verskeie opdragte van publieke instansies. Vir die Historiese Ossewatrek (1838), en die Inwyding van die Voortrekkermonument (1949), ontwerp hy reekse spesiale posseëls, stofomslae vir publikasies en ‘n verskeidenheid aandenkings. Dit het vir horn erkenning as „volkskilder” meegebring. Coetzer se sketsontwerpe vir die Historiese Fries in die monument het die eerste aanwysing gegee en bygedra tot die eenheid wat vandag in die werk bestaan. Benewens opdragte vir portrette van nasionale figure het die publieke aanvraag steeds toegeneem vir sy landskap- en stilleweskilderye. Na sy huwelik in 1942 beskik hy vir die eerste keer oor ‘n ruim en goedtoegeruste ateljee. Aan die ontwerpe vir die Voortrekkermuurtapisserie vir die Voortrekkermonument het Coetzer ses van sy rypste jare as skeppende kunstenaar gewy. Dit kan bestempel word as die hoogtepunt van sy kultuurhistoriese werk. Coetzer se bewondering vir die Trekkerleier Louis Trigardt het die tema vir sy grootste, en laaste, kultuurhistoriese skildery bepaal, naamlik die muurskildery „Vir jou, Suid-Afrika" vir die Provinsiale-gebou in Pretoria. Wat betref sy persoonlike kuns is Coetzer nie gebonde aan enige beperkende opdrag wat historiese korrektheid vereis nie; vandag skilder hy volgens eie ingewing en vir sy plesier. As veelsydige kunstenaar wat bedrewe is in die hantering van ‘n verskeidenheid kunsmedia, lewer hy oor die afgelope meer as veertig jaar skilderye van uiteenlopende aard. Sy landskappe wissel van grootse, indrukwekkende bergtonele, tot die weergawe van eenvoudige Hoëveldse winterlandskappe. Dit is egter in sy stillewes wat sy kunstenaarskap in hoë mate bevestig word. W.H. Coetzer se skilderye pryk vandag in talle publieke- en privaat kunsversamelings en sal altyd die geskiedenis van sy volk verkondig en die skoonheid van sy land besing. / Dissertation (MA)--University of Pretoria, 2011. / Visual Arts / Unrestricted