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The figure in paintingOgg, Rosella Hiebert. January 1963 (has links)
Call number: LD2668 .T4 1963 O34
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The body as a canvas : a non-permanent form of body art inspired by body adornment practicesConnor, Tenielle January 2010 (has links)
Thesis (BTech (Surface Design))--Cape Peninsula University of Technology, 2010 / Forms of body adornment and scarification practices have been around since the
origin of mankind. Many forms of traditional body adornment have evolved
overtime and still exist within our mainstream society today, however examples of
recent body adornments, show that although still very much in practice, in many
cases the meaning has been lost. The motivational routes of western adornments
are today based on what looks good as apposed to a ritual or right of passage that
marks one's body for life.
Therefore, the aim of this dissertation is to share the value of representation with
the viewer - as representation has played, and continues to play, such an important
role within the social aspect of mankind. Bycreating a link between traditional
practices of African body adornmentl scarification and connecting these with body
expression and representation within my own sub-cultural context, I hope to create
awareness of body adornment throughout time.
Finally the practical component of this research will consist of a portfolio of different
photographs and videos documenting the process and completion of adorning
different female bodies. These works of art will be traditionally inspired, nonpermanent
three-dimensional body art that will also undoubtedly represent selfexpression
and comment on 'trendv' sub-cultural society. As Idocument my
progress and work it is hoped that I portray in a conceptual framework, a life cycle
that comments on the evolution of culture from rural to urban, and from traditional
to Western, and how Western lifestyle is diluting our social being with trends rather
than using the method of body adornment as a cultural conversation.
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Sculptural expression as related to the human figureLaging, Barbara Mills. January 1963 (has links)
Call number: LD2668 .T4 1963 L35
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Anatomy and poses of the human figure in Attic art from the last quarter of the sixth to the first quarter of the fifth centuries B.CTsingarida, Athéna January 1997 (has links)
This thesis examines the extent to which a more accurate representation of the human body is developed from the last decades of the sixth century, and the reasons for this development. A sound knowledge of clinical anatomy is used to analyse closely the rendering of features and trace the way the Greek artist looked at his model. The study covers different media found in Attica (vases, sculpture in marble or in poros, bronzes, and terracottas) and shows that artists try to render the human body accurately in all, although the pace of development varies according to the cost, subject and technique used (painting, carving, casting, modelling). This move away from the conventional representation reflects a close observation of the life model even though the human figure is still rendered according to idealized proportions and features. In order to explain this change, literary evidence is gathered to reconstruct the knowledge of human anatomy and body at the time. A rich anatomical vocabulary is already developed in the Iliad and the Odyssey but is used in descriptions which combine imagination and reality, whereas, from the last decades of the sixth century, the extant philosophical and (slightly later) medical texts reflect a growing concern with anatomical features and internal organs in order to distinguish the human from the animal. This new approach may have influenced the way contemporary artists looked at, and represented the human figure, since it is probable that they knew these theories either from lay-texts, which often reproduce passages of philosophical or medical treatises, or from public lectures and readings.
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Development of an Intelligence Scoring System for Human Figure DrawingsHickox, Sherrie Danene 08 1900 (has links)
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.
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A well-composed body: anthropomorphism in architectureDrake, Scott, n/a January 2003 (has links)
Since the writings of Vitruvius in the first century AD, the use of the human body as a
metaphorical and symbolic referent has provided what is perhaps the most prolific trope for
architectural theory. The image of �Vitruvian Man,� with limbs outstretched to touch the
circle drawn from its navel, took on particular significance during the Renaissance, as
architects such as Alberti, Filarete, di Giorgio, Colonna, and Serlio published their own
interpretations of Vitruvius� Ten Books. For these writers, the body, as microcosm, was
the best available means for representing the order of the cosmos, the world as a whole.
Yet just as the idea of the body as architectural referent was being reinterpreted, the body
itself was being transformed by Renaissance anatomy. The unity and integrity of the body
was jeopardised as anatomists studied the body through the dissection of corpses. The
published results of these studies, the most notable being Vesalius� De Humani Corporis
Fabrica, were highly influential, with the anatomical methods of observation and partition
emerging as the fundamental tenets of modern science. Several centuries later, the
transformation of the body from a symbol of the world to an object amenable to scientific
observation and control was all but fully realised, as the discoveries of Pasteur were put to
use in the conquest of disease. These changing medical conceptions of the body led to
concomitant transformations of the sense of self, as the body as object was increasingly
divorced from the operations of the mind, in both its conscious and unconscious forms.
This thesis will examine how these changing conceptions of the human body have been
interpreted within architectural theory since Vitruvius. Beginning with the idea of ornament
as trope of sacrifice, it will examine how interpretations of the relation between the body as
whole and as part have affected ideas of architectural composition. Further, it will examine
the ethical implications of the trope of building as body, such that a building which reflects
the proportions of a �well-composed� body (Francesco di Giorgio), is itself an injunction to
�composure,� or appropriate behaviour. It will argue that modern architecture, while
rejecting classical anthropomorphism, was nonetheless influenced by ideas and practices
arising from anatomy. Then, in contrast to the object-body of anatomy, the thesis will
examine phenomenological and hermeneutical conceptions of the body, which interpret the
body as lived. From Merleau-Ponty�s study of perception to Scarry�s reading of the
significance of pain, the contribution of the body to the sense of self will be explored, giving
rise to a renewed conception of anthropomorphism as the manifestation not only of human
form, but of human sentience. Further, to the modern fragmentation of both the body and
architecture will be opposed integrative strategies of selfhood, such as the formation of
narrative identity (Ricoeur), the engagement with a community through practice (MacIntyre),
and the idea of the �monstrous� body (Frascari). These strategies will be used to explore
ways in which the form of the body can be understood other than in purely material terms,
and how this is translated into architecture.
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The mind's eye /Talevski, Lubo. January 1993 (has links)
Thesis (M.F.A.)--Rochester Institute of Technology, 1993. / Typescript. Includes bibliographical references (leaf 27).
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Foreign body this exegesis is submitted to Auckland University of Technology for the degree of Bachelor in Art and Design, Honours (Spatial Design) , October 2008 /Wood, Becca. January 2008 (has links) (PDF)
Exegesis (BA--Art and Design) -- AUT University, 2008. / Includes bibliographical references. Also held in print (59 leaves : ill. ; 29 cm + 1 DVD (4 3/4 in.)) in City Campus Theses Collection (T 791.436561 WOO)
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A universal and personal art through tradition and invention /Larkin, Pamela Marie. January 1990 (has links)
Thesis (M.F.S.)--Rochester Institute of Technology, 1990. / Typescript. Includes bibliographical references (leaf 20).
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Striking visual contrasts /Chou, Pei-Yung. January 1990 (has links)
Thesis (M.F.A.)--Rochester Institute of Technology, 1990. / Typescript. Includes bibliographical references (leaf 33).
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