Thesis (doctoral)--Universität des Saarlandes, Saarbrücken, 2001. / Includes bibliographical references (p. 121-126).

Diss.--Kulturwissenschaftliche Fakultät--Tübingen--Universität. / Bibliogr. p. 477-514 dans le vol. 1. Index dans les vol. 1 et 2.

Texte remanié de: Thèse--Grenoble--Université Pierre Mendès France. / Bibliogr. p. 395-414. Notes bibliogr.

Thesis (doctoral)--Universität zu Köln, 1980. / "Lebenslauf": p. [546]. Includes bibliographical references (p. 535-545).

Indiana University-Purdue University Indianapolis / Gabriele Münter (1877-1962) was a primary member of the twentieth-century German Expressionist group Der Blaue Reiter (The Blue Rider). This thesis examine the stylistic intersection between avant-garde French Fauvism and German Expressionism in Gabriele Münter's substantial oeuvre. Her body of work demonstrates an unmistakable affiliation with modern French aesthetic inclinations, a distinctive characteristic that confirms Münter's intrinsic comprehension of innovation artistic principles in creative communities across Europe. To contextualize the analysis of Münter's stylistic experimentation, this thesis illuminates the development and maturation of German feminine artistic culture from 1900 to 1933.

Between the outbreak of World War I and the mid-1930s, the best-selling and most widely read book on the topic of modern art in Germany was written by the art historian Fritz Burger (1877–1916). Burger is now all but forgotten in the art historiography of the period and absent in the English literature. This thesis provides the first English interpretation of Burger's major works and seeks to locate his art historical method in relation to then-contemporary intellectual streams. Trained in the late 19th century, Burger largely rejected the cultural-historical studies and theories of stylistic development and embraced an artistic-critical model forwarded by neo-Kantians like Adolf Hildebrand and Konrad Fiedler. Beginning with Burger's texts Cézanne und Hodler (1913) and Einführung in die Moderne Kunst (1917), I examine the conceptual underpinnings of these works with particular attention to Burger's notions of color, artistic cognition and philosophical speculation. I consider Burger's written output as the compliment to his hands-on pedagogical technique at the University of Munich, his involvement with the Munich avant-garde and friendship with the artist Wassily Kandinsky. Burger's work is a rare and early attempt to write about contemporary art as an historical document but without recourse to artistic biography or cultural milieu as interpretive tools. / text

This theses focused on the topic of silence and sound is divided in two section. Theoretical part contains information and knowledge from fields of physical phenomena, theory opf colors, psychology and theory of art (mainly based on work of W. Kandinski), that establish theorethical baseline for practical part, in this case realized graphic intent. Realization of practical part is an authorial construction of plastic interpretation of silence and sound. It tries to graphically express these two constructs with combination of pottery and glass in colorful compositions.

Im Zentrum der vorliegenden Arbeit steht die Untersuchung der Temperamalerei in München zwischen 1850 und 1914. Die Temperamalerei entwickelte sich in diesem Zeitraum zu einem maltechnischen Trend, dem sich Vertreter unterschiedlichster Kunstrichtungen anschlossen. Die vorliegende Untersuchung ergänzt bisherige Studien zu diesem Themengebiet, die sich vorwiegend auf die Auswertung von Schriftquellen stützten, durch einen interdisziplinären Forschungsansatz, der erstmals kunsttechnologische Untersuchungen von Gemälden mit einer umfassenden Auswertung der Quellen kombiniert. Im Fokus steht die individuelle maltechnische Entwicklung von vier Künstlern, die zu den einflussreichsten Protagonisten der Münchner Kunstszene gehörten: Arnold Böcklin (1827–1901), Franz von Stuck (1863–1928), Franz von Lenbach (1836–1904) sowie Wassily Kandinsky (1866–1944). Es wird beleuchtet, wie diese äußerst unterschiedlichen Künstlerpersönlichkeiten die Temperamalerei erlernten, welche Vorbilder sie hatten und wie sie ihr maltechnisches Wissen untereinander weitergaben. Ferner wird untersucht, welchen Stellenwert die Maltechnik in ihrer Malerei einnahm und inwiefern ein Zusammenhang von Bildinhalt, formaler Gestaltung und maltechnischer Umsetzung besteht. Die Untersuchung zeigt auch die zeittypische, breite Palette der Malmaterialien und ihre Kombinationen im Bildaufbau auf: Diverse selbst hergestellte Temperafarben und kommerzielle Tempera-Tubenfarbenprodukte kamen wahlweise in einer schichtenweisen Malerei oder als Primamalerei zur Anwendung. Daraus resultiert ein breites Spektrum unterschiedlicher Erscheinungsbilder, die von einer im klassischen Sinn Tempera-ansichtigen Malerei mit strichelndem Farbauftrag bis zu einer nass-in-nass modellierten Primamalerei reichen, welche üblicherweise mit der Ölmalerei in Verbindung gebracht wird. Folglich erweiterten sich im Vergleich zu klassischen Ölmalerei mithilfe der Temperafarben die individuellen, maltechnischen Ausdrucksmöglichkeiten der Künstler. Dies ist neben einer verbesserten Haltbarkeit der Gemälde und einer rationelleren Arbeitsweise der wesentliche Grund für die Faszination, die die Temperamalerei auf die untersuchten Künstler ausübte. / This study focusses on the investigation of tempera easel painting techniques in Munich between 1850 and 1914. During this period, tempera painting evolved to a trend that was joined by various artists of different art movements. This investigation complements previous studies on this topic, which mainly relied on the analysis of written sources, with an interdisciplinary approach that combines art technological examinations and a comprehensive evaluation of the written sources. The main focus is to investigate the individual painting techniques of four important protagonists of the Munich art scene at that time: Arnold Böcklin (1827–1901), Franz von Stuck (1863–1928), Franz von Lenbach (1836–1904) and Wassily Kandinsky (1866–1944). The study outlines how they learned to paint in tempera, which models they had and how they passed on their practical knowledge. Furthermore, it shows up the wide range of painting materials and the various possibilities of their application: The artists could choose between various self-made tempera paints and commercially available tempera paint tubes, which they applied either alla prima or in layers. This results in a wide range of different paint appearances, ranging from a tempera-like appearance in the classical sense up to a wet-on-wet modelled alla prima painting, which is conventionally associated with the visual appearance of oil painting. Consequently, tempera painting helped them to extend their individual means of expression compared to traditional oil painting, which is – in addition to an improved durability and a more rational way of painting – the main reason for their fascination of the tempera painting technique.

This work deals with the possibilities to use modern art in the leisure time. The theoretical part charakterises the pedagogical conceptions of Bauhaus, Paul Klee and Wassily Kandinsky. It deals with the issue of the artwork reception and with the developement and present circumstances of the art education at schools but also in terms of the leisure time. The practically part makes use of this theoretical knowledge and apllies it to the practices. For a better orientation is the project divided into two sections. The aim of the first part is the aplication of the integral method in the art education. The second part focuses on the work with the expressive means.

Through creative and theoretical research, this practice-led PhD project investigates the conditions that facilitate embodied sensory awareness within digital inter-media installation. Central to this exploration are questions concerning ‘immersion.’ The research uses this term to describe a transformation in perception that allows us to shake off representational and symbolic meaning in favour of embodied, sensory and intuitive awareness within an installation space. Drawing from embodied memories of immersion in natural and spiritual environments, I consider the elements that contributed to these experiences and ask whether it is possible to create this sense of immersion in art. I then consider the elements that produce immersive, inter-media environments including space, sound, light, and projected moving images. Drawing on theoretical and artistic precedents, I propose a set of principles for producing a sense of embodied sensory immersion. The practical outcomes of the research - three digital inter-media installations included in the exhibition, in an other light - incorporate different combinations and treatments of these material elements to investigate and test the proposed principles.