Thesis (M.A.)--University of Wisconsin, 1976. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 117-121).

Thesis (Ph. D.)--Dept. of Art and Art History and Center for Religious Studies. University of Missouri--Kansas City, 2005. / "A dissertation in art history and religious studies." Advisor: Maude Southwell Wahlman. Typescript. Vita. Title from "catalog record" of the print edition Description based on contents viewed Jan. 29, 2007. Includes bibliographical references (leaves 354-398). Online version of the print edition.

Thesis (Ph.D.)--University of Missouri-Columbia, 2004. / Typescript. Vita. Includes bibliographical references (leaves 221-228). Also available on the Internet.

Thesis (Ph. D.)--University of Texas at Austin, 2000. / Vita. Includes bibliographical references (leaves 270-276). Available also in a digital version from Dissertation Abstracts.

Thesis (M.F.A.)--Rochester Institute of Technology, 1991. / Typescript. Includes bibliographical references (leaf 24).

The thesis explores the phenomenon of a `Newlyn school'; it contextualizes its origins in the later 1880s focussing on the artistic and cultural values associated with it and examines subsequent developments. The thesis looks at the settlement of artists in Newlyn in the 1880s, and the connections between developments there and the impact of the work of Bastien- Lepage as well as making links to the contemporary Nature Movement in England. It considers the painting of rural imagery `on the spot' and the concern to achieve `open-air effects'. The latter did not necessarily imply painting out of doors indeed it could include interiors. Artists working in Newlyn attracted patronage from philanthropic industrialists desirous of effecting beneficial influence on the urban poor. This appears to account for the early interest in Newlyn-based artists in Birmingham. It is argued that there was nothing unique about the interests of artists who settled in Newlyn nor any interest in developing a special `school' in the early 1880s. However, after the work of Frank Bramley and Stanhope Forbes began to interest critics in London matters changed. While Braniley's A Hopeless Dawn (RA 1888) stimulated the notion that there was something special about Newlyn art, it was the highly ambitious Forbes who , profited most from the concept. In the following decade he successfully promoted himself as the guiding light of Newlyn art. The thesis also considers how the promotion of a `Newlyn school' in 1889 coincided with the concerns at the Royal Academy to promote a national form of art to counter the threat of Whistlerian internationalism and other types of modernism. However, subsequent coverage was unenthusiastic and short-lived. The thesis concludes with exploring how Forbes subsequently mythologized Newlyn, identifying the `school' with his own artistic persona.

This inquiry incorporates anthropological surveys on the life and character of the shaman, some writings of the American Plains Indians, and artist's, whose life and work reflects the power/life force so integral to the beliefs of these so called primitive cultures. Since the artist cannot be separated from his environment, the actions and reactions of society have also been explored. The method of inquiry has been to establish, first, the way of the shaman, and then the way of the artist. Although each artist, reflects only certain aspects of the enquiry, there is a strong affinity in the life and works of them all.

M.Tech. (Fine Art) / Papermaking as an activity area at the Technikon Witwatersrand (TWR) was initially introduced to equip fine art students with the basic knowledge and skills required to produce their own handmade papers, primarily for printmaking techniques. This need was identified through the fact that quality art papers were only available on campus at an expense that aspiring students could not afford. As the Papermaking Research and Development Unit (PRDU) at TWR expanded, students were able to specialise in paper-based research that targets certain issues that impact on and in our immediate environment. One issue that took priority was to investigate the properties, use and production of archival handmade papers to service local artists and students. South Africa does not have an extensive indigenous history or tradition in hand papermaking. It is a relatively new medium with little literature available on the subject. Research has become necessary to understand the properties of this medium in order to explore its various possibilities. This investigation would be viable to the local marketand manufacturers of paper, as well as to those who utilise paper in their creative activities. The bulk of archival papers available on the South African market are currently manufactured overseas and are imported to our country. With importing costs and current exchange rates, this increases their price in the South African market. The research specifically aims at producing a local handmade equivalent to the imported product that will meet, or lower, the cost and increase the availability of the product to the local market. Handmade papers have many advantages to the artists that exceed mould-made papers, all of which are investigated in this research. The specific market had to be identified in order to streamline the research possibilities and improve product potential. This market was identified as papers for selected traditional printmaking techniques, such as silkscreening; intaglio and relief processes. The research thesis, once published, will provide a resource on the subject, with specific application to a local situation. It will enable papermakers to further understand the composition of their product, as well as expand on its use and application.

Au cœur d’un questionnement contemporain, ce travail propose de penser la place de la photographie dans la clinique hospitalière : que faire avec ces nouvelles « images » apportées en séance ? Sont-elles vouées à répéter inlassablement le traumatisme ou peuvent- elles devenir source de création ? Pour mieux cerner cette problématique, cette thèse plonge dans le monde désaliénant de l’art du collage qui invite justement à transformer la photographie pour un usage d’expression subjective. Le collage porte bien mal son nom car cet art semble, bien au contraire, permettre un décollement dans la surprise, créant de fabuleuses compositions et ouvrant vers de nouvelles associations. Si les surréalistes se sont grandement inspirés de la psychanalyse dans leur art, les cliniciens n’ont cependant que peu souvent exploré leur univers. Il s’agit d’un travail inédit faisant résonner, dans la clinique hospitalière, l’histoire de l’art et les théories psychanalytiques. « Photocollage » est le nom donné à cette médiation s’inspirant des techniques et des réflexions des artistes-collagistes pour l’adapter en séances individuelles au sein d’un service de soin somatique. Soutenus par les récits de ces créateurs, nous avons en effet découvert chez eux une utilisation intuitive du collage pour dépasser un traumatisme extrême. Cette thèse en explore les raisons et les processus sous-jacents. Ce travail analyse scrupuleusement les théories émergentes pour les confronter à quatre grandes rencontres cliniques saisissantes par leur originalité et leur richesse, afin de dégager toutes les potentialités créatrices de cet art hors du commun. / This work offers to consider the position of photographic art within the clinical psychology practice. Are the images used in clinical sessions merely reproducing the trauma, or could they inspire creation? How can these images be used in clinical sessions? Such are the deeply contemporary questions to which this thesis attempts to answer. In order to grasp this question, the thesis immerges into the art of collage, a subjective creative art form using photographic media. The art of collage (to glue in French) seems to allow an antagonistic deepening of perspective from the subject, along with fabulous creations and unseen associations of ideas. Surrealist artists have freely inspired themselves from psychoanalytical concepts in their work; however clinical psychologists have seldom explored the world of art. This thesis attempts to bring together in harmony clinical work, history of art and psychoanalytical theory. « Photocollage » in french refers to this form of mediation, inspired by techniques and theories used by collage artists for individual therapeutic sessions, amid somatic treatment often following trauma.Through these creative processes, we have discovered an intuitive use of collage inorder to overcome extreme trauma. This thesis attempts to explain the reasons and underlying mechanisms. This work examines emerging theories on the subject, and attempts to apply them to therapeutic experience through four highly unique clinical psychology sessions, in order to examine the creative potential of this extraordinary art.

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