published_or_final_version / Fine Arts / Master / Master of Philosophy

Thesis (Ph. D.)--Columbia University, 1983. / Typescript. Includes bibliographical references (p. 309-324).

Thesis (M.A.)--Ohio State University, 1959. / Electrostatic copy of typescript. Includes bibliographical references (leaves 102-108). Available online via OhioLINK's ETD Center

Ph.D. (Art History) / By applying Panofsky's method of iconological analysis to Maggie Laubser's interpretation of motifs I could ascertain the following: * Christian Science played a decisive role in the development of her symbolic language; * the great mother archetype, as defined by Erich Neumann, features dominantly in her art; 'k Laubser's use of light is not purely painterly, but has symbolical and mythical implications; * the scenes depicting harvesting at the Cape or in the Orange Free State have besides historical also religious and symbolic connotations.Christian Science discerns the threefold character of ·God as the Fathe~ as the Son and as; the Mother. In analyzing Laubser's interpretation of the shepherd image, the aged shepherd, who corresponds to Saturn or Father Time, is the father who disposes of life and death. The young shepherd corresponds to the Good Shepherd though he has no physical contact with the sheep in his fold. The motherhood of God is demonstated by using an African woman in the untraditional working situ~tion of herding sheep. By juxtaposing the woman, with a child on her back, and a hut the image of provision which corresponds to the image of God as Mother is procured. Laubser explores the different phases of womanhood which embraces not only motherhood but also the possibility of rebirth through woman as goddess. In portraying the divine union where earth and heaven are united in the hieros gamos, Laubser explores the different implications of light. Her use of light motifs is not restricted to the depiction of either the sun or the moon. Buddha, the Enlightened Being and symbol of radiant light is incorporated instill lives so that the sun is brought within the eonfines of the interior. The ca t , ancanLmaLias socLa ted wi th the moon, later on substitutes the statuette of Buddha in still lives. In this way one can discern between work belonging to a sun period and work belonging to a moon period. Though harvesting signifies the end of a cycle and the reaper is seen as a symbol of death, Laubser uses cloud and child motifs to symbolize regeneration...

Lee, Wun Sze Sylvia. / Thesis (Ph.D.)--Chinese University of Hong Kong, 2011. / Includes bibliographical references (leaves 261-268). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstract also in Chinese.

Thesis (M. Phil.)--University of Sydney, 2007. / Title from title screen (viewed 26 March 2008). Submitted in fulfilment of the requirements for the degree of Master of Philosophy to the Dept. of Art History and Theory, Faculty of Arts. Includes bibliographical references. Also available in print form.

Thesis (M.A.)--Brigham Young University. Dept. of Visual Arts, 2006. / Includes bibliographical references (p. 99-102).

Thesis (D.C.A.)--University of Western Sydney, 2008. / A thesis submitted to the University of Western Sydney, College of Arts, School of Communication Arts, in fulfilment of the requirements for the Doctor of Creative Arts. Includes bibliographical references.

This thesis assembles a biographical portrait of the understudied Victorian figure painter Jane Maria Bowkett. I place Bowkett in the context of her family and London's nineteenth-century art world, a milieu in which professional identity and commercial success was determined by gender and class. As a professional artist. working for money, Bowkett contravened socially constructed ideals of feminine dependency. Through this study, I establish that little-known artists and commonplace pictures can contribute substantially to the historical record. Bowkett's paintings provide an untapped source of market-dependant work practices as well as a record of the middle classes' preference for particularly British scenes. Women form the subject of Bowkett's narrative genre pictures, which affirm and fracture class distinctions, index social progress, and subvert ideologically coded feminine norms.

Canadian artist Helen McNicoll (1879-1915) has long been neglected in art historical scholarship. Although well-known and well-regarded during her lifetime, her work has since been marginalized as feminine and dismissed as old-fashioned. Through the lens of a modernist art historical tradition that has privileged the urban and masculine above all else, McNicoll's Impressionist depictions of sunlit beaches, open fields, and rural women at work may indeed seem quaintly nostalgic. In this thesis, I argue that these images can and should be seen as both representations of modernity and assertions of feminist thought. McNicoll travelled throughout England and Europe, and across the Atlantic Ocean in search of artistic subject matter; viewed within the context of tourism---which has been theorized as a fundamentally modern activity---her images appear modern in ways that have not traditionally been recognized.