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...

The title of this thesis 'South African History Painting : Reinterpretation By Women Artists' indicated that the focus was to be on South African history painting. As the research progressed, however, it became apparent that the initial title did not encompass a broad enough spectrum. Therefore a more suitable title for this dissertation is 'A Visual Reinterpretation Of Aspects Of South African History By Women Artists: Penelope Siopis and Philippa Skotnes'. It is the intention of this dissertation to examine the way in which two contemporary South African women artists namely, Penelope Siopis (1953-) and Philippa Skotnes (1957) visually challenge in their paintings and prints respectively the conventional depictions of recorded South African history. Poststructuralism, deconstruction, new historicism and Postmodernism are among the theoretical currents upon which this research is based. It is from a Postmodern standpoint that selected works by Siopis and Skotnes will be analysed. The intention of this analysis is to examine their attempts to access the Postcolonial condition in South Africa through their visual presentations. The work of Siopis and Skotnes reflectects an interest in Postcoloniality. Furthernore, their visual imagery addresses questions of culture and power in South African visual representation. Works such as those created by Siopis and Skotnes can be seen as uncovering some of the contradictions within the process of decolonization. Nederveen, Pieterse and Parekh (1995 ) describe decolonization in the following way: 'Decolonization is a process of emancipation through mirroring, a mix of defiance and mimesis. Like colonialism itself, it is deeply preoccupied with boundaries - boundaries of territory and identity, borders of nation and state. (Nederveen, Pieterse and Parekh 1995: 11)' The focus in this dissertation is on the works of Siopis and Skotnes and their use of specific deconstructive methods to undermine prejudicial historical imagery and question established perceptions within South African history. In other words, the visual presentation of these two artists explores the boundaries or margins of established history. Both Siopis and Skotnes confront in visual terms the prejudicial representations of women and/or ethnic groups who have been subjugated by what they perceive as white, middle class, patriarchal history. The primary concern of the research is the visual imagery produced by these two artists and the effect of deconstruction on their respective art works. In the first chapter selected works from Siopis's 'History Painting' (1980s) series are to be analysed. In the second chapter the focus is on Skotnes's etchings in 'Sound From The Thinking Strings' (1993) exhibition. The investigation then moves to a project entitled 'Miscast' (1996). Skotnes was the curator of the 'Miscast' exhibition. It does not contain original art works by Skotnes. It is however an extension of the ideas which her prints embody and is therefore relevant to this dissertation. / Thesis (M.A.)-University of Natal, Pietermaritzburg, 1996.