Thesis (M.F.A.)--Rochester Institute of Technology, 1993. / Typescript. Includes bibliographical references (leaf 24).

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萬曆四十七年（1619），會稽文人王驥德（1540-1622）刊印出版了《元人古雜劇二十種》（或稱《古雜劇》），該書彙集元代雜劇20篇，并配有精美的版畫插圖，《唐明皇秋夜梧桐雨》即為其中的第17篇。 / 作為晚明徽派版畫風格的典型例證，顧曲齋所刊《唐明皇秋夜梧桐雨》中的4幅版畫插圖，可與明代中晚期蘇州地區職業畫家的人物故事畫作品進行比勘。筆者基於比對結果，運用圖像學理論，提出徽派版畫系仇英風格人物畫在版畫中餘續的假說。不僅如此，白樸(1226-1306後)《唐明皇秋夜梧桐雨》這一劇目本身即包含著明皇故事的文學創作傳統，且與之對應的明皇题材故事畫作亦廣受歡迎。尤其在明代，明皇題材故事畫與蘇州地區的商業創作緊密相關，為版畫的創稿提供了豐富的圖像資源。 / 最後，筆者通過對顧曲齋本《唐明皇秋夜梧桐雨》圖文關係及刊刻者王驥德個人經歷的考察，證實《古雜劇》的商品屬性及刊刻者所掌握的圖像資源。最終解答版畫史上關於徽派版畫風格來源問題：版畫繪刻者深受仇英人物畫風格的影響，或直接對部份畫作進行圖像挪用。同時亦說明在晚明江南，文人積極參與商業活動為文學與藝術兩個領域所帶來的雅俗標準的變更。 / In the 47th year of Wan-li, Wang Jide (1540-1622), a literatus in Guiji County, published the anthology of Yuan comedies named Guzaju in his personal printing house Guquzhai. In this book, he compiled 20 plays written in the Yuan dynasty with beautiful book illustrations. Rain on the Phoenix Tree was the 17th play in this book. / The illustrations for Rain on the Phoenix Tree in Guzaju were good examples for “Hui School of woodblock prints. Compared these woodcuts with those in the same style and paintings existing in the same period, I argued that the “Hui School of woodblock prints actually followed the style of narrative paintings made by Qiu Ying. Moreover, the story of the Tang emperor Minghuang has become a popular theme in the field of both Chinese literature and painting. Those traditions not only contributed to the birth of Bai Pu’s (1226-1306) comedy Rain on the Phoenix Tree, but also prided fruitful paintings as patterns for the professional painters like Qiu Ying. Since Qiu’s work prevailed the painting market in Jiangnan, thousands of narrative paintings including the theme of emperor Minghuang followed Qiu’s style. These paintings acted as commercial products as well as pictorial drafts for the engravers in late Ming. / Finally, the form of Guzaju and Wang Jide’s publication activities both showed that Wang, as owner of Guquzhai, aimed to use the illustrations to cater to the market and he did conversely get the pictorial resources from the market. Besides, the booming commercial trade of paintings in Jiangnan helped us finally get the answer for the origin of “Hui School of woodblock prints as well as showing the transformation of art criteria in the late Ming dynasty. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / 賴妮. / "2013年7月". / "2013 nian 7 yue". / Thesis (M.Phil.)--Chinese University of Hong Kong, 2013. / Includes bibliographical references (leaves 86-95). / Abstract in Chinese and English. / Lai Ni. / 致謝 / 論文摘要 --- p.i / 緒論 --- p.1 / Chapter 第一章 --- 顧曲齋刊《古雜劇·唐明皇秋夜梧桐雨》插圖的風格來源 --- p.6 / Chapter 第一節 --- 顧曲齋刊《古雜劇·唐明皇秋夜梧桐雨》插圖的風格來源問題 --- p.7 / Chapter 第二節 --- 顧曲齋刊《古雜劇·唐明皇秋夜梧桐雨》插圖風格來源試探 --- p.10 / 小結 --- p.25 / Chapter 第二章 --- 《唐明皇秋夜梧桐雨》的圖文傳統 --- p.27 / Chapter 第一節 --- 白樸《唐明皇秋夜梧桐雨》的故事來源 --- p.27 / Chapter 第二節 --- 明皇題材繪畫作品的特點 --- p.35 / Chapter 第三節 --- 人物故事畫傳統中的明皇故事圖 --- p.40 / Chapter 第四節 --- 明皇故事畫在明代江南地區的流傳與創作 --- p.47 / 小結 --- p.50 / Chapter 第三章 --- 《古雜劇·唐明皇秋夜梧桐雨》的刊刻背景 --- p.53 / Chapter 第一節 --- 顧曲齋刊《古雜劇》的商品屬性 --- p.54 / Chapter 第二節 --- 流通的私藏·雅化的俗曲 --- p.59 / Chapter 第三節 --- “棄儒就賈與通俗文化生產 --- p.67 / 結論 --- p.74 / 附表1 --- p.77 / 附表2 --- p.82 / 附表3 --- p.83 / 附表4 --- p.85 / 參考書目 --- p.86 / 圖版目錄 --- p.95 / 圖版 --- p.105

Thesis (doctoral)--Freie Universität, Berlin, 1999. / Includes bibliographical references (p. 237-248).

My dissertation looks at a pivotal point in the history of the news image (c.1840 to 1860), when wood engraving and steam-powered printing presses transformed the genre into a mass medium that reached hundreds of thousands of readers. Using the format of the monograph and the work of French artist Constantin Guys, I argue that despite the advent of photography and other reproductive visual techniques, drawing formed the backbone of the new authority of the mass-produced news image. To make this case, I locate Guys’s drawings within a wide range of other tactics of transcription that made the printing of text and image possible––including stenography and printing telegraphy––to contextualize the strange persistence of this manual medium within the increasingly mechanized armature of the illustrated newspaper. As a study of the formation of trust in the news image at a moment of momentous technological change, my project identifies a vital origin point for pressing questions related to the truth and objectivity of the news in our contemporary moment, and places mid-nineteenth-century drawing at its center.

Axios é a seqüência de xilogravuras produzidas em suporte de mdf com uma única goiva em V que pretende ampliar a reflexão a respeito do corpo humano como temática expressiva, incluindo imagens gravadas e a reflexão teórica a respeito desse processo e a criação do sentido, reconstruindo parte daquilo que o artista precisa dizer a si mesmo para iniciar a aventura de manifestações poéticas por intermédio do diálogo entre a gravura e o observante. / Axios is a sequence of xylographs produced on mdf support with only one V-form gouge; through which we mean to expand the reflection about the human body as an expressive theme, and which includes engraved images and theoretical reflection concerning this process as well as the creation of meaning process; reconstructing, through the dialogue between the engraving and the observer, part of that which the artist needs to say to himself to begin the adventure of poetic manifestation.

Axios é a seqüência de xilogravuras produzidas em suporte de mdf com uma única goiva em V que pretende ampliar a reflexão a respeito do corpo humano como temática expressiva, incluindo imagens gravadas e a reflexão teórica a respeito desse processo e a criação do sentido, reconstruindo parte daquilo que o artista precisa dizer a si mesmo para iniciar a aventura de manifestações poéticas por intermédio do diálogo entre a gravura e o observante. / Axios is a sequence of xylographs produced on mdf support with only one V-form gouge; through which we mean to expand the reflection about the human body as an expressive theme, and which includes engraved images and theoretical reflection concerning this process as well as the creation of meaning process; reconstructing, through the dialogue between the engraving and the observer, part of that which the artist needs to say to himself to begin the adventure of poetic manifestation.

E. Mervyn Taylor (1906-1964) was a pakeha artist whose prints drew influence from Maori culture and motif. He was one of a small number of artists who developed interest in Maori culture during the 1940s and 1950s. He expanded interest into detailed study of Maori culture, and interaction with Maori, and produced a significant body of prints on this subject during his career. Taylor's prints were acclaimed during his lifetime, but in the decades after his death, his reputation faded to the extent that he became relatively obscure. This persisted until the late 1980s, when art historical reassessment of his work began. This thesis forms a part of this continued re-evaluation. It focuses on Taylor's prints on Maori subjects, an area not sufficiently scrutinised in an academic context. It aims to reach deeper understanding of his prints through historical analysis of the factors that influenced him to choose Maori, and their culture as subjects for his artwork. The thesis also examines why Taylor's reputation was so emphatically based on his New Zealand heritage, as well as the quality of his craftsmanship, his beliefs about which formed the foundation of his philosophy. Nationalist and regionalist notions also figured in his aesthetic ideals. His prints are also placed in relation to the modern debate over cultural appropriation in art. Greater recognition and understanding of Taylor's oeuvre may be achieved by establishing why he chose Maori subjects, and what specific features they contributed to the character of his work.

This thesis presents a close comparison of Augustus Charles Pugin's illustrations for Paris and its Environs and Gustave Doré's illustrations for London: A Pilgrimage. This comparison will reveal what is distinctive about each publication. To achieve this, the thesis begins with a consideration of how these illustrated books fit into the oeuvres of the artists and writers involved, and how the works were subsequently received. The thesis then seeks to discover the ways the books adhere to the picturesque and Realist aesthetic modes. A comparison of the representation of social and political issues within the publications reveals how the city is either celebrated or critiqued in them. This is extended by a comparison with other English views of Paris and French views of London. The thesis concludes with the suggestion that the works under consideration are akin to illustrated guidebooks and novels. The illustrations themselves form the primary evidence for this comparison, supplemented by the accompanying written texts and other sources - including contemporary periodicals and biographical material. Paris and its Environs is a significant work within Pugin's oeuvre and shows how he created a view of Paris which would appeal to the tastes and aspirations of his readers. With London: A Pilgrimage, Doré created a view of London which would entertain his English audience but challenge them at the same time.

The vibrant school of printmaking which emerged and flourished in New Zealand between 1900 and 1950 forms the subject of this thesis. It examines the attitudes of the printmakers, many of whom regarded the print as the most democratic of art forms and one that should reflect the realities of everyday life. Their subject matter, contemporary city scenes, people at work and leisure, local landscapes, Maori and indigenous flora and fauna, is analysed and revealed as anticipating by over a decade that of regionalist painters. They are also identified as the first New Zealand artists to draw attention to social and environmental issues. Trained under the British South Kensington art education system, New Zealand printmakers placed great importance on craftsmanship. Although some worked in a realist style others experimented with abstraction and surrealism, placing them among the forefront of New Zealand artists receptive to modern art. Expatriate New Zealand printmakers played significant roles in three major printmaking movements abroad, the Artists' International Alliance, Atelier 17 and the Claude Flight Linocut Movement. The thesis redresses the failure of existing histories of New Zealand art to recognise the existence of a major twentieth-century art movement. It identifies the main factors contributing to the low status of printmaking in New Zealand. Commercial artists rather than those with a fine arts background led the Quoin Club, which initiated a New Zealand school of printmaking in 1916; Gordon Tovey's overthrow of the South Kensington system in 1945 devalued the craftsmanship so important to printmakers; and the rise of modernism, which gave priority to formal values and abstraction, further exacerbated institutional indifference to the print. The adoption of Maori imagery by printmakers resulted in recent art historians retrospectively accusing them of cultural appropriation. Even the few printmakers who attained some recognition were criticised for their involvement in textile and bookplate design and book-illustration. Key artists discussed in the thesis include James Boswell, Stephen Champ, Frederick Coventry, Rona Dyer, Arnold Goodwin, Thomas Gulliver, Trevor Lloyd, Stewart Maclennan, Gilbert Meadows, John L. Moore, E. Mervyn Taylor, Arthur Thompson, Herbert Tornquist, Frank Weitzel, Hilda Wiseman, George Woods, John Buckland Wright and Adele Younghusband. Details of the approximately 3,000 prints created during this period are recorded in a database, and summarised in the Printmakers' Survey included in Volume Two. In addition reproductions of 156 prints are illustrated and documented; while a further 43 prints are reproduced within the text of Volume One.