The late Victorian artist Evelyn De Morgan's paintings have been analyzed and interpreted through the lens of her many stylistic influences by past critics and current art historians. This thesis seeks to restore 19th-century Spiritualism as the central influence on the subject matter and style of De Morgan's paintings. This is particularly true of works concerned with the struggles of mortal life and the moment of death, based on her anonymously published text The Result of an Experiment. Victorian mourning rituals, Spiritualism, and the writings of Swedenborg served to draw out the specific Spiritualist symbols within De Morgan's paintings. A detailed analysis of six paintings concerned with the path of mortal life and death revealed De Morgan's Spiritualist beliefs about a hopeful death after her experiment with spirit communication.

Includes copies of articles co-authored by author during the preparation of this thesis in back pocket. / Includes bibliographical references (leaves 113-124). / viii, 172 leaves : ill. (some col.), maps ; 30 cm. / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / Focuses on the impact of change in the distribution of heat producing elements on lithospheric thermal regimes and on temperature dependent processes such as metamorphism, magmatism and deformation, with application to Proteozoic Australia (Mount Isa and Mount Painter inliers). / Thesis (Ph.D.)--Adelaide University, Dept. of Geology and Geophysics, 2001

František Pelíšek was a Czech painter who entirely developed his talent after emigrating to Brazil. He left to the South American country in 1920 and two years later he became a regular professor at the Instituto Belas Artes in Porto Alegre. On the basis of his diaries we learn more about his personal life and about the life of emigrants in Brazil. We get to know other important personalities in the Czech compatriot's life and we will also mention the most important work of Pelíšek outside the art school. The thesis also deals with general questions about emigration with special focus on Brazil and tries to answer the question why that country was, at the beginning of the 20th century, such a popular destination for emigrants. Key words: Czech emigration to Brazil, Rio Grande do Sul, Czech painter in Brazil, Czech compatriot's life.

Nesta tese, estudamos os vasos cerâmicos produzidos pelo Pintor de Gela, um artista ático, cujo período de atividade vai da última década do século VI a meados do século V. Esse Pintor pertence à geração de artistas tradicionalistas que prossegue produzindo vasos de figuras negras no período em que a técnica de figuras vermelhas é introduzida e adotada por diversos artistas em Atenas. O Pintor de Gela pode ser considerado um artista completo, uma vez que tanto molda como decora seus vasos com a mesma dedicação; ele pensa como um ceramista, porque ele é um deles, consciente do volume sobre o qual ele coloca os elementos da imagem que constrói, consciente assim da natureza do objeto suporte da imagem e das manipulações e rotações que serão feitas ao longo de sua utilização. Em sua obra, o Pintor apresenta qualidades artísticas interessantes e importantes que devem ser levadas em conta sob diversos aspectos: a originalidade técnica com a qual produz vasos em que se percebe a preocupação com simetria, volume e proporção; a capacidade de abstração e ordenação de imagens; a criatividade e liberdade artísticas com que apresenta novas representações e versões de temas desenvolvidos por outros artistas e oficinas contemporâneos a ele. A produção desse Pintor merece uma revisão e novas interpretações já que o que possuímos de publicações dedicadas ele é muito pouco em relação à sua importância como artista pertencente a um período tão produtivo da arte grega. Apontamentos sobre qualidade artística, estilo, produção e cronologia podem ser feitos a partir do estudo sistemático de seus vasos, inseridos no universo de artistas e da produção de vasos áticos de figuras negras. O conhecimento da produção desse artista, tanto no nível formal quanto imagético, contribui para uma caracterização e maior conhecimento do desenvolvimento técnico e artístico pelos quais passa a cerâmica grega, permitindo questionamentos sobre o que conhecemos da arte, tecnologia e iconografia gregas do período / This thesis deals with the pottery vases produced by the Gela Painter, an attic artist who worked from the last decade of the sixth to the beginning of the fifth century BC. This painter belongs to a generation of traditional artists who keeps on producing black figured vases when the red figured technique is introduced and adopted by many artists in Athens. The Gela Painter can be considered a complete artist due to the fact that he makes and decorates his vases with the same dedication. He thinks as a ceramist because he is one - he is aware of the volume in which he creates the elements of image, conscious of the nature of the object in which the image is placed and of the manipulations and shifts that will happen during its use. In his work, the Painter shows interesting and important artistic qualities which have to be considered under different aspects: the technical originality used to produce his vases through which it is possible to notice his worries about symmetry, volume and proportion; the capacity of abstracting and arranging images; the artistic creativity and liberty with which he shows new representations and versions of the same theme developed by other contemporary artists and workshops. This Painter\'s production deserves to be reviewed and re-interpreted due to the fact that all the works dedicated to him are really few when we take into account his importance as an artist belonging to such a fruitful period of the Greek art. Considerations about artistic quality, style, production and chronology can be taken out studying his vases systematically, always having in mind the production of attic black figured vases universe. The knowledge of this Painter\'s production, taking into account both its form and imagery characteristics, contributes to a better characterization and a greater understanding of the artistic and technical development seen in the Greek ceramic production, allowing us to question what we know about art, technology and iconography of this period

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal / Pour respecter les droits d'auteur, la version électronique de cette thèse ou ce mémoire a été dépouillée, le cas échéant, de ses documents visuels et audio-visuels. La version intégrale de la thèse ou du mémoire a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal.

Cette recherche a pour ambition d'étudier les vitraux, les commanditaires et les peintres-verriers de la fin du Moyen Age au début du XVIIe siècle dans l'Est du Bassin parisien, c'est-à-dire dans un secteur géographique couvrant des territoires où il reste parfois beaucoup de vitraux en place (pays troyen, par exemple) et d'autres où il ne subsiste presque rien, comme dans les Ardennes ou l'Aisne. Cependant, il est possible, grâce aux sources d'archives, de fournir un tableau des foyers de peinture sur verre dans des villes où l'absence de vestiges ne laisse pas supposer qu'on y ait produit du vitrail (Mézières, Laon). Ces sources, comptables, judiciaires, notariales, réglementaires ou techniques, permettent, d'une part, de suivre sur le long terme les mécanismes de commande, de pose et d'entretien des verrières et, d'autre part, d'étudier les familles de peintres-verriers qui ont été actives dans la plupart des cités du territoire couvert par notre étude. Nous avons donc tenté d'élaborer une définition du métier de peintre-verrier tenant compte des circonstances (métier réglementé ou non) ainsi que de la teneur exacte des activités des peintres-verriers qui sont, comme dans de nombreux autres pays, souvent polyvalents, les spécialisations dépendant du contexte artistique, économique et familial. Les source anciennes enrichissent aussi l'approche iconographique en contribuant à affiner notre connaissance des corpus de vitraux posés dans un espace géographique et pour une période donnés : si l'iconographie dépend pour une bonne part du statut du commanditaire et de sa culture, les dévotions locales, la nature de l'édifice et les modes ont aussi joué un rôle. / This project is a study of the stained-glass windows, patrons and painter-glassworkers of the end of the Middle Ages. It focuses on the east Parisian Basin at the 16th and 17th centuries, an area which encompasses regions (such as that around Troyes) where there are many extant windows, and others (such as the Ardennes and Aisne) where almost nothing survives. Using archival sources, however, it is possible to supply a picture of glassmaking centre where no material evidence suggests that glass was manufactured (for example in Mézières and Laon). On the one hand, these sources allow us to trace the processes of patronage, production, installation and maintenance of windows over a period of time. On the other, they provide an insight into the families of glassworkers which were active in most of the cities covered by this study. Drawing on this evidence, this thesis presents an account of the painter-glassworker's craft, taking into account socio-historical circumstances (including guilds), as well as the details of their activities given in the records, which are often, as in other countries, rather vague and general, depending on artistic, economic and familial context for clarification. The historical sources can also enrich an iconographic understanding of the glass by helping to refine our knowledge of the windows within their geographical and temporal contexts : if their subject-matter depends on the status and culture of patrons, the nature of local devotion, the nature of the edifice and fashion must all be taken into account.

Nesta tese, estudamos os vasos cerâmicos produzidos pelo Pintor de Gela, um artista ático, cujo período de atividade vai da última década do século VI a meados do século V. Esse Pintor pertence à geração de artistas tradicionalistas que prossegue produzindo vasos de figuras negras no período em que a técnica de figuras vermelhas é introduzida e adotada por diversos artistas em Atenas. O Pintor de Gela pode ser considerado um artista completo, uma vez que tanto molda como decora seus vasos com a mesma dedicação; ele pensa como um ceramista, porque ele é um deles, consciente do volume sobre o qual ele coloca os elementos da imagem que constrói, consciente assim da natureza do objeto suporte da imagem e das manipulações e rotações que serão feitas ao longo de sua utilização. Em sua obra, o Pintor apresenta qualidades artísticas interessantes e importantes que devem ser levadas em conta sob diversos aspectos: a originalidade técnica com a qual produz vasos em que se percebe a preocupação com simetria, volume e proporção; a capacidade de abstração e ordenação de imagens; a criatividade e liberdade artísticas com que apresenta novas representações e versões de temas desenvolvidos por outros artistas e oficinas contemporâneos a ele. A produção desse Pintor merece uma revisão e novas interpretações já que o que possuímos de publicações dedicadas ele é muito pouco em relação à sua importância como artista pertencente a um período tão produtivo da arte grega. Apontamentos sobre qualidade artística, estilo, produção e cronologia podem ser feitos a partir do estudo sistemático de seus vasos, inseridos no universo de artistas e da produção de vasos áticos de figuras negras. O conhecimento da produção desse artista, tanto no nível formal quanto imagético, contribui para uma caracterização e maior conhecimento do desenvolvimento técnico e artístico pelos quais passa a cerâmica grega, permitindo questionamentos sobre o que conhecemos da arte, tecnologia e iconografia gregas do período / This thesis deals with the pottery vases produced by the Gela Painter, an attic artist who worked from the last decade of the sixth to the beginning of the fifth century BC. This painter belongs to a generation of traditional artists who keeps on producing black figured vases when the red figured technique is introduced and adopted by many artists in Athens. The Gela Painter can be considered a complete artist due to the fact that he makes and decorates his vases with the same dedication. He thinks as a ceramist because he is one - he is aware of the volume in which he creates the elements of image, conscious of the nature of the object in which the image is placed and of the manipulations and shifts that will happen during its use. In his work, the Painter shows interesting and important artistic qualities which have to be considered under different aspects: the technical originality used to produce his vases through which it is possible to notice his worries about symmetry, volume and proportion; the capacity of abstracting and arranging images; the artistic creativity and liberty with which he shows new representations and versions of the same theme developed by other contemporary artists and workshops. This Painter\'s production deserves to be reviewed and re-interpreted due to the fact that all the works dedicated to him are really few when we take into account his importance as an artist belonging to such a fruitful period of the Greek art. Considerations about artistic quality, style, production and chronology can be taken out studying his vases systematically, always having in mind the production of attic black figured vases universe. The knowledge of this Painter\'s production, taking into account both its form and imagery characteristics, contributes to a better characterization and a greater understanding of the artistic and technical development seen in the Greek ceramic production, allowing us to question what we know about art, technology and iconography of this period

Ist das Italien? Wo sind der strahlend blaue Himmel, die wiedererkennbaren Landschaftsmotive und die Tarantella‐tanzenden Ciociare? Der römische Landschaftsmaler Nino Costa (1826‐1903) war sich der Konventionen von Italiendarstellungen im 19. Jahrhundert durchaus bewusst, entschied sich jedoch für eine subtilere und persönlichere Präsentation seiner Heimat. Das monumentale Landschaftsgemälde Ein Scirocco‐Tag an der Küste nahe Rom ist eines seiner Hauptwerke und vereint in sich die Prinzipien seiner Kunst. Es zeigt einen Küstenabschnitt in der Nähe Roms zur Zeit des Sciroccos, dem heißen, Saharasand bringenden Wind aus Nordafrika. Ein kräftiger Mann mit bloßem Oberkörper schleppt sich von der drückenden Hitze und dem Gewicht seines mit Laub bedeckten Korbes gebeugt durch eine karge Dünenlandschaft vom Meer Richtung Landes‐inneres. Die weiße Hose mit breitem roten Band weist ihn als Fischer aus. Das kleine Boot am Strand rechts lässt vermuten, dass er gerade vom Fang zurückgekehrt ist und die Fische, von Zweigen gegen die direkte Sonneneinstrahlung geschützt, im Korb nach Hause trägt. Zwischen Boot und Mann steht ein niedriger schief gewachsener Baum, dessen Stamm die gebeugte Gestalt des Fischers wiederholt. Zur Linken verschließen Felsen den Blick auf das Meer. Eine von Hartlaubgewächsen bedeckte Düne schmiegt sich an den Stein und führt zu einer rechteckigen Öffnung, die von Menschenhand gemacht zu sein scheint. Der Rest des sandigen Untergrunds ist mit Büscheln von trockenem Dünengras bewachsen.

The diploma thesis is divided into three parts to meet the requirements of the Department of Art Education. The main part consists of an artistic - historical chapter, which discusses the phenomenon of painting in the Iron Mountains as a place for the development of landscape painting at the turn of the 18th and 19th centuries. The work focuses on the analysis of landscape motifs in a given locality. He compares the motifs that inspired painters and seeks their connection to the work of other painters and puts them in the context of open-air painting. The chapter deals in detail with five painters, other painters are mentioned marginally due to the need for context. The choice of motifs does not differ from the motifs painted in other areas. The specificity of painting in the Iron Mountains lies in the simplicity of the landscape and its colors. The motifs here are mainly rivers, the Iron Mountains, rural cottages around Ronov nad Doubravou, Kraskov, and last but not least in stonehouses. Other motifs include motifs with a path, ponds, especially the Utopenec pond near Ronov nad Doubravou, Lichnice castle. The painters often take over the composition of the paintings from their predecessors. The next part - comments, represent their own work based on a comparison of the motif of the images created...

Master's thesis called Not too well-known painter reacts on art of regional painter Jaromír Martiník. It is an exhibition of the work of this painter. Thanks to the intervention of author of this exhibition brings up his work into unusual context of artist from Beskydy, who is influenced by oriental philosophy.