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This thesis examines my work to harness ruminative thinking as a driving force for my art practice. With a combination of drawing and painting in watercolor pencil, I activate and engage with rumination through the act of sublimation as defined in clinical psychology. Repetition of process and hand-rendered detail serve as outward channels for my obsessive cyclical thoughts. Based on my experience living with the physical effects of a hyperactive mind, I depict botanical life symbolically in an effort to communicate impressions of the bodily sensations associated with rumination, such as palpable tension, anxiety, or dread. In my research, I have discovered connections between the art historical concept of the sublime and the clinical topic of rumination. Various definitions of the sublime are woven throughout my own analysis, contextualized against historical and contemporary art with an emphasis on science fiction. As a result of this visual research, I have successfully transformed ongoing experience with rumination into a quantifiable framework for my creative process.

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.

Orientador: Lygia Arcuri Eluf / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-20T11:26:05Z (GMT). No. of bitstreams: 1 BosqueMartinez_MariadelCarmen_D.pdf: 9996384 bytes, checksum: 7f81ce23cbd070d78ee4fec93233b54e (MD5) Previous issue date: 2012 / Resumo: A pesquisa se propõe a investigar a articulação das linguagens visuais e seus elementos como fundamento da prática artística e construção de uma poética, a partir de séries de trabalhos. Os trabalhos realizados se prendem aos acontecimentos no espaço ao meu redor, suas figuras, paisagens e objetos. Falam de um cotidiano que se organiza pelas formas aparentes que interferem em minha percepção e compreensão de mundo. A observação desse mundo de aparências se traduz a partir de uma diversidade de meios expressivos e procedimentos. No processo criativo contemplam-se as expressões bidimensionais como desenho, gravura ou pintura e a construção de cadernos dobráveis que se transformam em pequenos cenários tridimensionais, nos quais se interpõem e articulam as diferentes linguagens das artes visuais. A linha e a cor atuam como elementos básicos que, conforme seus arranjos e combinações, constroem outros elementos como luzes, transparências e contrastes potencializando a percepção desses relatos. Nestes cadernos se experimentam novas situações de apreensão do espaço e sua representação, permitindo sua manipulação e interferência por parte do leitor - fruidor. Haverá uma exposição a ser realizada na galeria de arte da Unicamp, com parte da produção artística decorrente desta pesquisa / Abstract: The research aims to investigate the relationship between visual languages and their elements as the foundation of the artistic practice and the construction of a poetic, from series of works. The works relate to events in the space around me, their figures, landscapes and objects. They speak of a daily life which is organized in ways that interfere with my apparent perception and understanding of the world. The observation of this world of appearances is translated from a variety of expressive means and procedures. The creative process includes two-dimensional expressions such as drawing, engraving or painting and the construction of folding books that turn into small three-dimensional scenarios, in which the different languages of visual arts stand and articulate. Line and color act as basic elements which, according to their arrangements and combinations, build other elements as lights, transparencies and contrast, enhancing the perception of these reports. In these notebooks one experiences new situations of apprehending space and its representation, allowing their manipulation and interference by the reader - spectator. There will be an exhibition to be held at the Art Gallery of Unicamp, as part of the artistic production resulted from this research / Doutorado / Artes Visuais / Doutor em Artes

This project is the search for a room. The search included that which is sensible through tone, and that which is intelligible through line. Tone and color were used to paint the sensible, geometric constructions were used to understand the intelligible. The constructed axonometric drawings became both sensible and intelligible in the way that their very construction is an active reconstitution of the charred contours of a dream. This project began with a glass of Scotch, which is a container of a world; dreamlike, smoky, and ethereal. It ended with drawings of a room; a reconstitution of a dream. / Master of Architecture

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This thesis paper reflects upon the costume design process taken by Mikayla Reid to explore how color choice and application within designs can help create storybook characters off the page and onto the stage. This concept is explored through the costume designs for the opera The Cunning Little Vixen, a production theoretically staged at the Alice Busch Opera Theater for the Glimmerglass Festival in New York. The paper discusses Reid’s attempt to create designs that still feel like watercolor illustrations, even when realized in physical garments. It follows her process as she tests different dye techniques in search for what produces the most effective color application. This paper also breaks down each step taken while constructing the main character, the Vixen, through the build, fittings, and color application.

Jean-Baptiste Isabey (1767-1855) connaît une carrière exceptionnellement longue qui s’étend de la Révolution au Second Empire. Après avoir exposé ses premières œuvres au Salon de 1791, cet élève de Jacques-Louis David s’impose sur la scène artistique du Directoire comme le premier dessinateur et miniaturiste de son temps. En s'inscrivant dans un contexte favorable à la diffusion de portraits de moindre coût et de moindre format, sa réussite peu commune rend compte de l'évolution des critères de la reconnaissance artistique à la fin du XVIIIe. Elle témoigne également de la promotion du statut social de l'artiste autour de 1800. Lié aux proches du clan Bonaparte sous la Consulat, Isabey est un des portraitistes de la période les mieux introduits auprès des élites. Son habileté à exploiter des sujets qui répondent aux goûts de ses contemporains permets de mesurer l'importance des relations mondaines dans la naissance et la diffusion des réputations artistiques au tournant du XIXe siècle. Entre 1800 et 1805, Isabey est l'auteur de plusieurs grands dessins de propagande qui scandent les principales étapes de la consolidation du nouveau pouvoir. Familier de la noblesse impériale, l'artiste accumule honneurs et commandes officielles au lendemain du Sacre. Sa réputation est associée aux portraits miniatures de l’Empereur destinés à la caisse des présents diplomatiques et à quelques-unes des plus célèbres représentations officielles de Marie-Louise et du roi de Rome. Ses responsabilités sont extrêmement variées et sa production considérable : il est à la fois peintre des relations extérieures, dessinateur du cabinet et des cérémonies et décorateur en chef de l'Opéra. L'étude de ce parcours pluridisciplinaire offre un champ d'étude remarquable, qui nous fournit bien des clefs pour comprendre la carrière et le statut des artistes de cour sous l'Empire. Après Waterloo, Isabey est mis à l’écart du pouvoir en raison de ses engagements bonapartistes. L'artiste exécute alors plusieurs caricatures et portraits qui le montrent prompt à critiquer la monarchie restaurée. L'analyse des effets de la résistance au régime royaliste dans le monde des arts entre 1815 et 1820 aide à saisir le sens de son engagement dans l'opposition. La période qui s’ouvre au lendemain des Cent-Jours est également fondamentale pour comprendre le parcours artistique d'Isabey et pour apprécier la place que lui assignèrent ses contemporains dans l’art de la première partie du XIXe siècle. Son abondante production, qui se décline en miniatures sur vélin, dessins, lithographies, aquarelles et peintures à l’huile le montre soucieux de l'évolution du goût. Elle met aussi en lumière la difficulté qu'il éprouve à conserver sa réputation de portraitiste après 1820. Cette thèse fournit pour la première fois un catalogue de l’œuvre d'Isabey / Jean-Baptiste Isabey (1767-1855) had an exceptionally long career that spanned from the French Revolution until the Second French Empire. After his early works' exhibition at the Salon of 1791, this student of Jacques-Louis David rapidly became, on the art scene of the French Directory, the finest artist and miniaturist of his time. In a context that made the dissemination of low-cost and small-sized portraits easier, his unusual success reflects the change of artistic recognition criteria in the late eighteenth century. It also reflects the improvement of the social status of artists around 1800. Linked to people that were close to Bonaparte under the French Consulate, Isabey is one of the period's best introduced portraitists. His cleverness in using themes that meet his contemporaries' tastes clearly shows how important social relationships can be in the making and spreading of artistic reputations at the turn of the nineteenth century. Between 1800 and 1805, Isabey is the author of several large propaganda drawings that punctuate the main steps of the new power's consolidation. Familiar with the imperial nobility, the artist collects honours and official commissions in the wake of the Coronation. His reputation is associated with miniature portraits of the Emperor made for the fund of diplomatic presents and with some of the most famous official representations of Marie-Louise and of the King of Rome. His responsibilities are manifold and he produces a lot: he is the official painter for external relations, designer of the Cabinet, designer of Ceremonies and chief decorator of the Opera. The study of this multidisciplinary career gives many keys to a better understanding of the career and status of court artists under the Empire. After Waterloo, Isabey is sidelined because of his bonapartist commitments. At this time the artist performs several caricatures and portraits where he clearly criticizes the freshly restored monarchy. Analysing the effects of this resistance to the royalist regime in the world of arts between 1815 and 1820 helps in understanding his commitment to the opposition. The period opening in the aftermath of the Hundred Days is also fundamental to understanding Isabey's artistic career and to appreciate the place he was assigned by his contemporaries in the art of the first part of the nineteenth century. His prolific output, which comes in miniature on vellum, drawings, lithographs, watercolours and oil paintings shows his constant concern about changing tastes. It also highlights the difficulty he has to maintain his reputation as a portraitist after 1820.This thesis provides for the first time a catalogue of Isabey's works