Célèbre compositeur et enseignant, Vincent d’Indy est moins connu pour l’intérêt qu’il porta tout au long de sa vie aux beaux-arts. Il pratiqua le dessin et la peinture pendant plusieurs décennies et parcourut l’Europe à la recherche des plus beaux sites historiques et des plus fameux musées. Sa fréquentation des artistes et des mécènes dans les Salons et les expositions lui permit d’avoir de fructueux échanges avec de nombreux plasticiens. Son obsédante référence à la nature dans ses aquarelles apparaît également dans ses poèmes symphoniques ou ses opéras. Cette thématique bucolique s’inscrit dans une sphère d’influence romantique qui jalonne ses compositions. Enfin, son approche de l’histoire de la musique est réhaussée de multiples références esthétiques. Elles nous éclairent sur ses influences, d’Émile Mâle à John Ruskin en passant par Félicité de Lamennais. / The celebrated composer and professor Vincent d'Indy is less well-known for his lifelong interest in the arts. He drew and painted for many decades, and he travelled throughout Europe looking for the most beautiful historical sites as well as the most famous museums. Associating with artists and patrons of art in salons and exhibitions enabled him to benefit from contact with numerous painters or sculptors. His constant reference to nature in his watercolours was also apparent in his symphonic poems or operas. This rustic theme places him in a field of romantic influence in which compositions blaze a trail. Also, his approach to the history of music is heightened by the many aesthetic references which throw light on his influences, such as Émile Mâle, John Ruskin or Félicité de Lamennais.

My works evolve from a concrete vision but tend to lack recognizable imagery. Color and texture are central to my process. By isolating the element of color, I strive for purely formal qualities in my color field paintings. Working on textured suraces, such as burlap, allows me to capture textural elements, which further adds to the aesthetic components of my art. The lack of realistic imagery provides an opportunity for the viewer to personally interpret the visual elements. It is my objective that during the aesthetic experience, the viewer becomes captivated by the unique ways that colors play within tiny sections of the composition.

Collection of poetry by Deborah Brink in four parts, submitted in August of 2004.

Este trabalho consiste de paisagens e autorretratos, inspirados nas memórias de minha infância. Desenho, gravura e aquarela são os meios utilizados na realização de tais obras, que são acompanhadas por um texto escrito que busca, por sua vez, refletir sobre ou evocar esta memória. / This work consists of inner landscapes and self-portraits, inspired by my childhood memories. Drawing, printmaking and watercolor are the means used in carrying out such works, which are accompanaied by a written text that seeks, in turn, to reflect on or evoke this memory.

Este trabalho consiste de paisagens e autorretratos, inspirados nas memórias de minha infância. Desenho, gravura e aquarela são os meios utilizados na realização de tais obras, que são acompanhadas por um texto escrito que busca, por sua vez, refletir sobre ou evocar esta memória. / This work consists of inner landscapes and self-portraits, inspired by my childhood memories. Drawing, printmaking and watercolor are the means used in carrying out such works, which are accompanaied by a written text that seeks, in turn, to reflect on or evoke this memory.

This thesis is a statement about a series of paintings based on an invented dollhouse object that conveys the artist’s identity and placement in the world. Through this essay, the artist represents the home as a space that fosters the recovery and rebirth of invisible energy, ki and examines ideas of transience, interconnection, and rebirth in the mysterious flow of ki in the home. Also the artist will explain her own view about being an artist, the methodologies and specific techniques of her paintings, and her artistic direction for the future.

Thesis (MFA)--Montana State University--Bozeman, 2008. / Typescript. Chairperson, Graduate Committee: Gesine Janzen.

My work is an attempt to express some of the deepest emotions held within myself; truths that seem to flow straight from my unconscious to the surface through forms that are raw, powerful, ambiguous, mysterious, emotional, and pure. In my paintings, I am dealing with the aftermath of rape. In my paintings, I combine content with complex studio processes by using the figure, limited watercolor palette, expressive mark making, and a distressed surface.

Prior to January 2010, my work in painting focused on opposites, such as the difference between the instinctual and the planned. Formally I was interested in the need to veil, and the urge to reveal the thinking and processes in the creation of a painting. Through the juxtaposition of these things I sought to strip landscape of its inherent divinity and create a new kind oflandscape using color, atmosphere, and mark making. My goal was to make the monumental insignificant and secondary to my process and create works with clear intent, a physical process, and an interest in how color can be used to suggest the illusions of space, time, and depth. Currently, my work has undergone major changes in regards to content. This thesis will explain the journey I have undertaken during the past two and a half years while discussing my reasons for abandoning my initial proposal for something based less in academic discourse and more in personal introspection.

No description available.