Thesis--Helsinki. / Summary in English. Errata slip inserted. Includes bibliographical references (p. 299-314).

Thesis (Ph. D.)--University of California, Berkeley, 1983. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (p. 215-220).

The most surprising outcome from the Victoria School of Art and Design's first half century is that it survived into its second. How it survived, and how it almost failed to, is the subject of this thesis. The main argument is that community support for the VSAD, or lack of it, was based more on pragmatic concerns, rather than on whether people liked the art being produced. Among those concerns, the most talked about was art training for employable skills. Led by Anna Leonowens, who later became the subject of the musical The King and I, well-to-do citizens in Halifax, Nova Scotia founded the VSAD in 1887. In 1925 the school changed its name to the Nova Scotia College of Art. Its current name, the Nova Scotia College of Art and Design, came in 1969, the year that the College became what was then the only autonomous degree granting art institution in Canada. As part of an international movement, the VSAD shared its late nineteenth century origins with similar art schools throughout North America, Europe, Britain and its colonies. Many of these schools also shared common purposes: to sharpen the graphic skills of industrial designers, to provide instruction in the fine and decorative arts, and to train drawing teachers for public and private schools. Of the different groups supporting the Halifax school, women and their organizations were the most consistent and consequential, especially Halifax's Local Council of Women. A properly funded art school, they argued, could generate jobs, stimulate economic gains, and foster higher standards of civic culture within the community. This study looks at the VSAD's supporters, teachers, and administrators during its first half century. It describes how the school, with its inadequate enrolment, budget, and space, played a limited role in generating art-related employment before the Great War. It is only with the principalship of Elizabeth Styring Nutt from 1919 to 1943, with her strong community connections and decades-long commitment to training artist-workers, that the school finally gained relative security and success.

Thesis (M.A.)--Bowling Green State University, 2009. / Document formatted into pages; contains v, 39 p. : col. ill. Includes bibliographical references.

No description available.

The most surprising outcome from the Victoria School of Art and Design's first half century is that it survived into its second. How it survived, and how it almost failed to, is the subject of this thesis. The main argument is that community support for the VSAD, or lack of it, was based more on pragmatic concerns, rather than on whether people liked the art being produced. Among those concerns, the most talked about was art training for employable skills. Led by Anna Leonowens, who later became the subject of the musical The King and I, well-to-do citizens in Halifax, Nova Scotia founded the VSAD in 1887. In 1925 the school changed its name to the Nova Scotia College of Art. Its current name, the Nova Scotia College of Art and Design, came in 1969, the year that the College became what was then the only autonomous degree granting art institution in Canada. As part of an international movement, the VSAD shared its late nineteenth century origins with similar art schools throughout North America, Europe, Britain and its colonies. Many of these schools also shared common purposes: to sharpen the graphic skills of industrial designers, to provide instruction in the fine and decorative arts, and to train drawing teachers for public and private schools. Of the different groups supporting the Halifax school, women and their organizations were the most consistent and consequential, especially Halifax's Local Council of Women. A properly funded art school, they argued, could generate jobs, stimulate economic gains, and foster higher standards of civic culture within the community. This study looks at the VSAD's supporters, teachers, and administrators during its first half century. It describes how the school, with its inadequate enrolment, budget, and space, played a limited role in generating art-related employment before the Great War. It is only with the principalship of Elizabeth Styring Nutt from 1919 to 1943, with her strong community connections and decades-long commitment to training artist-workers, that the school finally gained relative security and success. / Education, Faculty of / Graduate

No description available.

Thesis (Ph. D.)--University of Washington, 2003. / Vita. Includes bibliographical references (leaves 329-340).

This dissertation examines the patronage of Marie de Brabant, queen of France (1260-1322), and how her commissions transformed the atmosphere of the late Capetian court. Bringing with her from her native duchy of Brabant an established set of cultural preferences strikingly different from those that the saintly Louis IX had promoted in Paris for the previous half century, she introduced a love of secular material and elaborate ceremony upon her arrival in 1274. Taking the form of manuscript illumination, sculpture, stained glass, and architecture, as well as literature, music, science, history, genealogy, ritual, and finery, Marie’s patronage set a trend for courtly consumption for the remainder of the medieval period. Nearly always political in nature, her commissions were nonetheless sumptuous to behold, whether secular or sacred in content and they announced her status as Carolingian princess and French queen. Analysis of the frontispiece of Bibliothèque de l’Arsenal Ms. 3142, a richly illuminated miscellany of fictional, historical, and didactic poetry is crucial for understanding Marie’s taste and priorities, and is complemented by study of her other commissions in Brabant and France. These commissions varied from large scale -- such as the addition of chapels to the east end of the church of Notre-Dame in Mantes or window programs for the chapel of St. Nicholas at the church of St.-Nicaise in Reims and her parent’s necropolis at the church of the Dominicans in Louvain -- to smaller format -- the châsse of Ste. Gertrude at Nivelles or the donor statues of the chapelle de Navarre at Mantes. Most numerous, however, are the manuscripts that made up her diverse library which included the secular romances of Adenet le Roi and the scientific treatises of Guillaume de Nangis as well as historical and religious texts all of which were illuminated by the most renowned and creative artists of the day. After an analysis of her patronage as queen and widow, I look to how her activities as patron and collector influenced other late Capetian royal women, many of whom Marie had raised and whose activities, in turn, complemented and complicated their mentor’s vision of queenship. / text

Thesis (Ph. D.)--Open University. BLDSC no. DX78296. / 2 volumes.