Thesis--Utrecht. / Vita. Includes summary in English. Includes bibliographical references (p. 241-243).

Thesis (Ph. D.)--University of Wisconsin--Madison, 1975. / Typescript. Vita. Description based on print version record. Includes bibliographical references.

<p>This thesis explores the potential advantages of incorporating color into musical analysis and musical concepts into art analysis. Music and the visual arts are vehicles of expression using two different perceptible waves as a medium. By comparing the physical attributes of these waves, analogous terminology between the disciplines is highlighted. Terminology parallels allow us to identify relationships between musical ideas and sonorities and color theory concepts and color harmonies. Cross-modal relationships have been explored in synesthetically inspired works in both disciplines. In Scriabin?s Prometheus, the luce presents the colors to the audience. These colors emphasize the harmonic, formal, and mystical elements of the piece. Messiaen?s Des Canyons aux etoiles features chords that were specifically included to paint the colors of the places he had visited. Sonata No. 6 by Ciurlionis is a painting that includes the three major sections of sonata form with the color changes to match. Symphony verte by Valensi includes complex structural variations and the various shading and saturations found in the timbral diversity of a symphony. Accounting for the bimodal aspects of these pieces provides us with a more concise holistic understanding of the artist?s purpose.

Scholars have hailed David Cox (1783-1859) as one of the pillars of English landscape painting of the early nineteenth century, together with John Constable and J.M.W. Turner. Working primarily in watercolor, Cox celebrated the English landscape in naturalistic pictures that exhibited both a reliance on and a radical departure from the earlier topographical tradition. This dissertation contextualizes and brings into sharper focus the means by which Cox’s naturalism was primarily achieved, through a roughness of brushwork and a mastery of color. He perfected a style that was based on both the topographical and the picturesque traditions while going beyond their theoretical strictures to incorporate the effects of atmosphere, wind, and light. The resulting body of work privileges both an accurate depiction of actual places and of these transient “effects,” as Cox described them. This study argues that Cox’s naturalism was informed by two aspects of his life that have largely been overlooked in the literature: his experience as a theatrical scene painter and his deep and reverent religious faith. The dissertation engages in an analysis of historical, cultural, and biographical circumstances that explains how Cox negotiated a hybrid place between the theoretical debates over ideal landscape versus picturesque landscape painting. Drawing from primary sources, it posits Cox’s compositions as derivative of elements of both schools, refined by copying Old and Contemporary Masters, yet pursuing independent choices in depicting nature truthfully and without the manipulations of antecedent schools and models. / A Dissertation submitted to the Department of Art History in partial fulfillment of the requirements for the degree of Doctor of Philosophy. / Spring Semester 2018. / April 13, 2018. / Book of Nature, David Cox, English landscape, naturalism in landscape, theatrical scene painting, watercolour / Includes bibliographical references. / Robert Neuman, Professor Directing Dissertation; Eric Walker, University Representative; Jack Freiberg, Committee Member; Adam Jolles, Committee Member.

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A critical analysis of several approaches to prose, and an attempt to construct a theory of prose as art, on which a language of prose criticism might be based. / Thesis / Master of Arts (MA)

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