- About
-
The Global ETD Search service is a free service for researchers
to find electronic theses and dissertations. This service is
provided by the
Networked Digital Library of Theses and Dissertations.
Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
Search results
Showing 1 to 3 of 3 (0.034 seconds)Spelling suggestions: "subject:"claude (lorraine)""
| 1 |
"Et in Arcadia ego" : En konstvetenskaplig studie av Arkadien i bildmotiv / "Et in Arcadia ego" : An art science study of Arcadia in pictorial motifsKronberg, Tove January 2024 (has links)
This thesis aims to examine how the philosophy of Arcadia is portrayed compared to three paintings from Nationalmuseums exhibition Arkadien: ett förlorat paradis? Firstly, the essay creates a frame for what Arcadia should look like and communicate by analyzing three established Arcadia-motifs with the same title, Et in Arcadia ego by Nicolas Poussin from 1638 and 1627, and Guercino from ca 1620. The framework shows that Arcadia contains three dominating themes, which are the presence of antiquity, the pastoral ideal and the presence of Death. The framework also shows that Arcadia aims to have a clear communication with the viewer by using direct symbols and double linguistic messages. Secondly, the essay compares Poussins and Guercino's Arcadia with Nationalmuseums Claude Lorrains Landskap med Argus som vaktar Io (ca 1644–1645), Francois Només (1593-ca 1645) Trojas brand med Aeneas och Anchises flykt (u.å) and Thomas Blanchets Kleobis och Biton (1650). The results are that Nationalmuseum has a different view of Arcadia compared to Poussin and Guercino, and uses it as an elastic concept, which can categorize paintings that don't fully communicate Arcadia's original thoughts and ideas as truthfully Arcadia-motifs.
|
| 2 |
A Structural analysis and visual abstraction of the pictorial in the Aeneid, I-VIShaw, Rayford Wesley 06 1900 (has links)
The pictorial elements of the first six books of the
Aeneid can be evidenced through an examination of its
structural components. With commentaries on such
literary devices as parallels and antipodes, interwoven
themes, cyclic patterns, and strategic placement of words
in the text, three genres of painting are treated
individually in Chapter 1 to illustrate the poet's
consistency of design and to prove him a craftsman of the
visual arts.
In the first division, "Cinematic progression," attention
is directed to the language which conveys movement and
frequentative action, with special emphasis placed on
specific passages whose verbal components possess
sculptural or third-dimensional traits and contribute to
the "spiral" and "circle" motifs, the appropriate visual
agents for animation.
Depiction of mythological subjects comprises the second
division entitled "Cameos and snapshots." Three
selections, dubbed monstra, are explicated with such
cross references as to illustrate the poet's use of
epithets which he distributes passim to elicit verbal
echoes of other passages.
The final division, "The Vergilian landscape," addresses
two major themes, antithetical in nature, the martial and
the pastoral. Their sequential juxtaposition in the text
renders a marked contrast in mood which is manifested
pictorially in the transition from darkness to light. A
panoramic chiaroscuro emerges which is the tapestry
against which Aeneas makes his sojourn through the
Underworld. It is the perfect backdrop to accompany the
overriding theme of "things hidden," res latentes, which
encompasses a greater part of the epic and becomes the
culminant motif of the paintings which comprise the
visual presentation.
Chapter 2 functions as a catalogue raisonne for art
inspired by the Aeneid from early antiquity up to the
present day. Such examples of artistic expression
provide a continuum with which to appropriate Horace's
maxim, ut pictura poesis, in their evaluation.
The verbal exegeses in Chapter 1 have been programmed to
comport with the thematic content of the visual
presentation in Chapter 3, a critique exemplifying the
transposition of the verbal to the pictorial. With these
canvases I have attempted to render a new perspective of
Vergil's epic in the genre of abstract expressionism. / Art / D. Litt. et Phil.
|
| 3 |
A Structural analysis and visual abstraction of the pictorial in the Aeneid, I-VIShaw, Rayford Wesley 06 1900 (has links)
The pictorial elements of the first six books of the
Aeneid can be evidenced through an examination of its
structural components. With commentaries on such
literary devices as parallels and antipodes, interwoven
themes, cyclic patterns, and strategic placement of words
in the text, three genres of painting are treated
individually in Chapter 1 to illustrate the poet's
consistency of design and to prove him a craftsman of the
visual arts.
In the first division, "Cinematic progression," attention
is directed to the language which conveys movement and
frequentative action, with special emphasis placed on
specific passages whose verbal components possess
sculptural or third-dimensional traits and contribute to
the "spiral" and "circle" motifs, the appropriate visual
agents for animation.
Depiction of mythological subjects comprises the second
division entitled "Cameos and snapshots." Three
selections, dubbed monstra, are explicated with such
cross references as to illustrate the poet's use of
epithets which he distributes passim to elicit verbal
echoes of other passages.
The final division, "The Vergilian landscape," addresses
two major themes, antithetical in nature, the martial and
the pastoral. Their sequential juxtaposition in the text
renders a marked contrast in mood which is manifested
pictorially in the transition from darkness to light. A
panoramic chiaroscuro emerges which is the tapestry
against which Aeneas makes his sojourn through the
Underworld. It is the perfect backdrop to accompany the
overriding theme of "things hidden," res latentes, which
encompasses a greater part of the epic and becomes the
culminant motif of the paintings which comprise the
visual presentation.
Chapter 2 functions as a catalogue raisonne for art
inspired by the Aeneid from early antiquity up to the
present day. Such examples of artistic expression
provide a continuum with which to appropriate Horace's
maxim, ut pictura poesis, in their evaluation.
The verbal exegeses in Chapter 1 have been programmed to
comport with the thematic content of the visual
presentation in Chapter 3, a critique exemplifying the
transposition of the verbal to the pictorial. With these
canvases I have attempted to render a new perspective of
Vergil's epic in the genre of abstract expressionism. / Art / D. Litt. et Phil.
|
Page generated in 0.04 seconds