The purpose of this thesis was to relate experiences and philosophies of James Surls to his art in order to determine changes in his artistic style. The problem was to study Surls' sculpture in approximately one decade in order to determine changes in his style, to determine which sculptures are important in making these changes, and to analyze how and why these changes occurred.

This research proposed developing a multivariate intelligence scoring system for human figure drawings. The 115 subjects were drawn from clinical, medical, and noninstitutionalized populations. Initially, 72 of these drawings were analyzed for detail, proportion, perspective, and overall quality. The initial factor analysis revealed two factors corresponding roughly to the WAIS Verbal Comprehension and Perceptual Organization factors. DAP items evidencing high colinearity with FSIQ were retained. Two-stage regression of DAP items within subtests onto the WVAIS FSIQ using the data from all 115 subjects yielded the final model (R = 0.85, p < 0.0001). Cronbach's Alpha and mean item commonality were computed as estimates of internal consistency (0.95 to 0.999). A second factor analysis revealed six factors associated with intelligence in the DAP.

Four site-specific works produced between 1982 and 1984 in which Hans Haacke utilized the traditional medium of oil on canvas were examined in conjunction with an overview of the underlying and interrelated principles and concepts that have guided his approach to art from 1958-1988.

Heinrich Zille (1858-1929), an artist whose creative vision was concentrated on Berlin's working class , portrayed urban life with devastating accuracy and earthy humor. His direct and often crude rendering linked his drawing and prints with other artists who avoided sentimentality and idealization in their works.

No / Raman spectroscopic analysis of the pigments on an Italian painting described as a “Full Length Portrait of a Gentleman”, known also as the “Malatesta”, and attributed to the Renaissance period has established that these are consistent with the historical research provenance undertaken earlier. Evidence is found for the early 19th Century addition of chrome yellow to highlighted yellow ochre areas in comparison with a similar painting executed in 1801 by Sir Thomas Lawrence of John Kemble in the role of Hamlet, Prince of Denmark. The Raman data are novel in that no analytical studies have previously been made on this painting and reinforces the procedure whereby scientific analyses are accompanied by parallel historical research.

This study is concerned with an analysis of twenty paintings by Western European artists from the thirty-five-item segment of the Anthony Denney Collection on permanent loan to the Dallas Museum of Fine Arts. The paintings were considered separately in a two phase visual and verbal analysis accompanied by visual diagrams. Phase one described the primary visual qualities of each painting through examination of the art elements and principles. Phase two was a verbal description of each painting. The purpose of this investigation is to provide an analysis format suitable for abstract and non-objective works of art.

Research supports ideas that relate the value of arts integration to success in the elementary classroom. This thesis explores the theoretical and practical aspects of the integration of the visual arts and their value, specifically to elementary grades four through six.

In this essay I will study three different paintings by the Swedish artists Lars Lerin and Gösta Adrian Nilsson (also known as GAN). All of these pieces incorporate sailors as part of their motives. The aim of the study is to analyse how these pieces differ in how they convey homoerotic themes. Both of these artists refer to their sexuality through their artistry, the sailor being a common motive between the two. I will also examine how the sailor relate to different ideas of masculinity. To do this I will use methods from both the iconologic and semiotic schools of art analysis, before comparing the different pieces, presenting my interpretations of them. The result of this study shows that these artists use varying methods to present their sexual identity. The motives of GAN are more subtle than those of Lars Lerin, relying on symbolic interpration rather than men posing suggestivily. This is not suprising, as homosexuality was still illegal during GANs life. The artists also portray masculinity in different ways.

No / The differentiation between genuine and fake lapis lazuli specimens using Raman spectroscopy is assessed using laboratory and portable instrumentation operating at two longer wavelengths of excitation in the near-infrared, namely 1064 and 785 nm. In spite of the differences between the spectra excited here in the near infrared and those reported in the literature using visible excitation, it is clear that Raman spectroscopy at longer wavelengths can provide a means of differentiating between the fakes studied here and genuine lapis lazuli. The Raman spectra obtained from portable instrumentation can also achieve this result, which will be relevant for the verification of specimens which cannot be removed from collections and for the identification of genuine lapis lazuli inlays in, for example, complex jewellery and furniture. The non-destructive and non-contact character of the technique offers a special role for portable Raman spectroscopy in forensic art analysis.