Thesis (M.F.A.)--Rochester Institute of Technology, 1988. / Includes bibliographical references.

Thesis (MA--Art and Design) -- Auckland University of Technology, 2003. / On cover : 2004 Also held in print (37 leaves : col. ill. ; 30 cm. + CD-ROM) in Wellesley Theses Collection (T 709.93074 AUS)

Thesis (Ph. D.)--Columbia University, 1980. / Includes bibliographical references (leaves 376-383). Also issued in print.

Thesis (Ph. D.)--Columbia University, 1980. / Includes bibliographical references (leaves 376-383).

"Arthur Rackham was selected as the subject for this study because of the writer's interest in his unique drawings and because of a feeling that others may find of some use a paper which treats of the artist of fairyland. The attempt has been made to assemble from the writings of Rackham's contemporaries and his modern critics representative reviews, opinions and reactions to the illustrations for children's books. Since many of the books Rackham illustrated were reprints, the critics were influenced by previous illustrators and in such writings are found the best comparisons of Rackham's work to that of other artists"--Introduction. / Typescript. / "August, 1958." / "Submitted to the Graduate Council of Florida State University in partial fulfillment of the requirements for the degree of Master of Arts." / Advisor: Agnes Gregory, Professor Directing Paper. / Includes bibliographical references (leaves 59-62).

"One modern author-illustrator who has done his work almost exclusively in children's literature is Leo Politi. One of the prominent author-illustrators, he is the recipient of the Caldecott Award for the artist creating the most distinguished American picture book for children published in the United States during the year 1949 and the runner-up for this award in two other years. In an attempt to find out what makes his work outstanding, books he has written and illustrated were read and evaluated to determine the dominant theme and quality of his stories, the style of his illustrations and the degree to which the illustrations and stories are suited to each other. Except for two of the books illustrated by Politi that were not accessible, all the books written by other authors and illustrated by him were studied to determine how well the illustrations fit the purpose and mood of the text. Politi's publications were analyzed to determine how prolific he has been and the nature of his contribution to children's literature"--Introduction. / Typescript. / "August, 1959." / "Submitted to the Graduate School of Florida State University in partial fulfillment of the requirements for the degree of Master of Sciences." / Advisor: Sara K. Srygley, Professor Directing Paper. / Includes bibliographical references (leaves 56-62).

No description available.

The thesis is a survey of 291 frontispieces and illustrated title pages in European books on astronomy from the 17th century. It is a quantitative and qualitative survey of how motifs are related to consumption, identification and display. Elements in the motifs related to factual content as opposed to those aimed to raise the perceived value of astronomy are distinguished. The quantitative study shows that astronomical phenomena (90 per cent) and scientific instruments (62 per cent, or as much as 86 per cent if only titles with illustrations occupying an entire page are considered) are the most common motifs to inform the reader of the genre. Besides these, a wide range of depicted features indicate the particularity of each title. Different means for raising the value of astronomy and its attributes are identified. The interplay of “real” or “credible” elements with fictional ones was used to attract attention, create positive associations and promote acquisition and reading. The motifs mainly promote delectation and erudition, although some attract attention through their deliberately enigmatic design and a few through fear. The survey determines prevalent settings (palaces, the theatre, gardens, the wilderness and the heavens), activities (skilful use of instruments, conversations or disputes), references to the ancients and heraldic components. They present both the self-image of astronomers at the time and ideal components that contain connotations of an enhanced reality. This self-image also contributed to the definition of normative values for astronomers in the 17th century. The affinities between painters and astronomers are examined. In addition, an analysis of descriptions of frontispieces is undertaken, which shows that the user of the book was expected to devote considerable time to the frontispiece in order to understand all of its particular features and that the illustrations were suitable for display and learned digression.

abstract: The purpose of this dissertation is to investigate the materiality of a unique text, Random House and The Illustrated Modern Library’s 1946 Don Quixote, illustrated by Catalonian painter Salvador Dalí. It analyzes Dalí’s classical trajectory, how Dalí and the text were received in mid-twentieth century North America, and how they both fit into the print history of illustrated editions of Don Quixote. Each is revealed to be unique in comparison with the history of the genre due to the publishing house’s utilization of Dalí’s high-quality illustrations in a small-sized text. Lavish illustrations traditionally have been reserved for larger, collectible editions. The contemporary material significance of the 1946 edition is revealed by examining organizations, people, and circumstances that were necessary for its production in the United States, and by contextualizing the text’s reception by North American popular culture, high art echelons, and art critics. The overarching history of illustrated editions of Don Quixote is examined, comparing Dalí and his illustrations with important thematic and methodological benchmarks set by illustrators within this 400-year period, especially regarding renderings of reality and fantasy. Analyses of the first three watercolor illustrations of Dalí’s 1946 Don Quixote reveal how the painter forms mythological imagery and composes the quixotic dichotomy of reality and fantasy through the metaphoric gaze of an inanimate figure representing the protagonist. Dalí at times renders the “real” Don Quixote as incapacitated, omitting from his illustrations universalized iconography utilized in previous centuries achieved by rendering Don Quixote’s perspective, gaze, and heroic interpretation of events. In these three illustrations, Dalí forms Don Quixote as a deflated figure based in burla (mockery) and engaño (self-deception) by negating Don Quixote’s gaze within the compositions, without compromising the painter’s trademark surrealist style. The text therefore challenges the genre’s print history while Dalí challenges French and German Romantic illustrators’ universalized iconography that traditionally highlights the nobility of the knight errant. By focalizing fantastic madness as interacting with burlesque reality, Dalí creates a new episteme within the genre of illustrated editions of Don Quixote, establishing his unique niche as an illustrator in this genre. / Dissertation/Thesis / Doctoral Dissertation Spanish 2017

No description available.