This master thesis has two main objectives, the first is to develop a list of impressionistic key features and the second is to apply those key features when writing idiomatic music for the guitar. The composers of the impressionist era tried to capture the sense of an emotion through the musical language, something this master thesis investigates further. During the process of gathering information about impressionistic key features, I found important building blocks that made me aware of the impressionistic musical language. The four methods I used were arranging and analyzing sheet music, interviews with composers, literature studies and video interpretation. When I found enough material, I started to write music using the impressionistic key features. It resulted in three impressionistic sounding pieces. The pieces are presented with sheet music and an audio recording. As a reader and musician, one can gain knowledge about the impressionistic sound, how to write idiomatic music for the guitar and methods how one can intertwine these two subjects. The discussion part of the thesis addresses problems I struggled with during the process and how I could move away from these difficulties using composing methods and utilizing the impressionistic key features in a creative manor.

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The lecture recital was given April 23, 1973. A discussion of trends and parallels in Impressionist music and painting included information about specific technical devices and innovations related to and common to the arts of music and painting, as seen in the Miroirs of Ravel. Slides of Impressionist paintings were used as illustrations. The five pieces of the Miroirs were then performed by memory.

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In the capitalistic landscape of games today there exists a paradigm where metrics rule over game design which constrains the creativity and diversity of game design. Realistic games have seen a surge in popularity under this paradigm and as an artist I look to the art movement of impressionism for answers. In 19th century France, impressionist painters managed to escape the conventional realism of their time and their work diversified art. I explore how game mechanics could be refined using impressionist painting techniques as inspiration. Existing definitions of game mechanics such as Sicart (2008) which sees mechanics as methods invoked by agents, designed for interaction with the game state and Lundgren et al. (2003) which see mechanics as any part of the rule system that covers one possible kind of interaction that takes place during the game, both definitions fail to recognize the context (game) in which they exist and looks at mechanics in isolation. Using the analogy of a game as a painting, the properties of a brushstroke is translated into six considerations (size, placement, angle, visibility, shape, and overlap) which can be used to explore game mechanics in a novel way. Through three case studies I learned that my approach to game mechanics can be complementary to existing definitions and provides a language to discuss game mechanics. The six considerations proved useful both in research and in practice and enables a designer to quickly explore game mechanics, embracing the context of the game they exist in. / I dagens spels kapitalistiska landskap existerar det ett paradigm där metrik styr över speldesign vilket stryper speldesignens kreativitet och diversitet. Realistiska spel har blivit mer populära under detta paradigm och som en konstnär så letar jag i konströrelsen impressionism för svar. Under 1800-talets Frankrike lyckades impressionistiska konstnärer fly från tidens konventionella realism och deras arbete diversifierade konst. Jag utforskar hur spelmekaniker kan förädlas med användning av impressionistiska målningstekniker som inspiration. Existerande definitioner av spelmekaniker som Sicarts (2008) ser spelmekaniker som metoder åberopade av agenter, designade för interaktioner med spelets tillstånd och Lundgren et al. (2003) som ser spelmekaniker som en del av det regelsystemet som täcker en möjlig interaktion som tar plats under spelets gång, både definitionerna misslyckas med att se på spelmekaniker i deras kontext och kollar på spelmekaniker i isolering.  Med analogin av ett spel som en målning, så översätts ett penseldrags egenskaper till sex överväganden (storlek, placering, vinkel, synlighet, form och överlappning) som används till att utforska spelmekaniker på ett originellt sätt. Genom tre studier har jag lärt mig att mitt tillvägagångssätt bevisar sig vara användbart både för forskning och i praktik samt att det tillåter designern att snabbt utforska spelmekaniker med spelets kontext i åtanke.

Denna uppsats studerar Karl Fredrik Nordströms (1855–1923) konstnärliga relation till ön Tjörn på den svenska västkusten med särskilt fokus på åren kring 1910. Nordström återkom ständigt i sina landskapsmålningar till Tjörn och prövade sig fram genom olika konstinriktningar som impressionism, syntetism, symbolism och nationalromantik. Genom bildanalys av tre verk, observationer samt källforskning finner jag att Nordström under lång tid sökte efter att återge Tjörn på ett nöjaktigt sätt, men att först efter att ha funnit sin egen konstnärliga process, ett konstnärligt uttryck, och var fri från omvärldens krav, lyckades han i sin föresats. / This paper studies the artist Karl Nordström's (1855-1925) artistic relation to the Swedish island Tjörn with a specific emphasis on the years around 1910. Norsdstöm repeatedly returned to Tjörn for inspiration for his landscape portraits, practicing impressionism, synthetism, symbolism and national romantics. By analyzing three different paintings, by observations at Tjörn and by studying primary sources, I find that Nordström kept on trying to capture the nature at Tjörn, but it was only after he had found his own process and expression, and was freed from outside expectations, that he succeded.

Feminist art historians reassessed French Impressionist Berthe Morisot (1841-1895) throughout the late twentieth and early twenty-first century, a period in which her work coincidentally received steady exposure in major museum exhibitions. This thesis examines how the feminist art historical project intersects with exhibitions that give prominence to Morisot’s work. Critical reviews by Morisot scholars argue that more frequent display of the artist’s work has not correlated to nuanced interpretation. Moreover, prominent feminist scholars and museum theorists maintain that curators virtually exclude their contributions. Attending to these recurrent concerns, this thesis charts shifts in emphases and inquiry in writing centered on Morisot to survey the extent to which curators convey new constructions of her artistic, social, and historical identities. This analysis will observe how distinct exhibition forms—the retrospective, the Impressionism blockbuster, and the gendered “women Impressionists” show—may frame Morisot’s work differently according to their organizing principles.

Orientador: Guillermo de la Cruz Coronado / Banca: Maria Luiza Ferreira Laboissiére de Carvalho / Banca: Ofir Bergemann de Aguiar / Banca: Norma Wimmer / Banca: Antonio Manoel dos Santos Silva / Resumo: Análise sobre o Impressionismo literário, a partir da releitura duma narrativa da Literatura Brasileira, Crônica da casa assassinada, de Lúcio Cardoso, a qual visa a descobrir-lhe a concepção, a temática, o princípio estrutural e a estilística. Pela investigação desses quatro segmentos, chegou-se aos seguintes resultados: a) se ainda se hesita em pensar-se o Impressionismo literário como um escola, sem dúvida pode-se pensá-lo como um estilo, que se projeta do século XIX para o XX; b) o Impressionismo literário invariavelmente refere-se à prosa de ficção (conto, novela, romance); c) Cca configura-se antes um romance impressionista que expressionista, já a partir do substrato filosófico que o move; d) os temas de Cca apontam para o Naturalismo, com o qual o Impressionismo vincula-se estreitamente; e) Cca revela um projeto estrutural, o que pressupõe desmontagem e remontagem textuais; f) o estilo cardosiano vai ao encontro deste idioma nervoso, colorido e requintado chamado écriture artiste, característico do Impressionismo literário. / Abstract: Research about Literary Impressionism, mainly in a Brazilian Literature Narrative, Crônica da casa assassinada, from Lúcio Cardoso, which tries to find out the conception, the titles, the structural begining and Stilistics. Searching these four elements, the following results were reached: a) one doesn't think about Literary Impressionism just as a single literary behaviour, but as a style, that goes through XIXth. to XXth. Century; b) the Literary Impressionism refers, in a particular and unchangeable way, to fiction prose (short stories, fictous tales, novels); c) Cca is na impressionist novel, since its phylosiphical substractum; d) Cca themes goes to Naturalism, with whom Impressionism is tighly joined; d) Cca brings a narrative handed made work, that presupposes dismounting and remounting the text; f) Cardoso's style goes through this nervous, coloured and sophisticated idiom called écriture artiste. / Doutor

Esta dissertação examina a gravura impressionista, através da análise do conceito de desenho e a relação deste com a gravura praticada na segunda metade do século XIX, na França. Para isso, utilizo como guia o conceito de desenho desenvolvido por Félix Bracquemond (1833 - 1914) em seu ensaio Du Dessin et de la Couleur (1855). Pretendo mostrar como esse conceito foi forjado em consonância com as pesquisas impressionistas no âmbito da gravura. / This dissertation focuses the impressionist engraving , through an analysis of the concept of drawing, and its relations with the engraving made in France, at the second half of the XIX century. Therefore, the concept of drawing such as developed on the essay Du Dessin et de la Couleur (1885) by Félix Bracquemond (1833 - 1914), was taken as a guiding one. I intent to demonstrate how this concept was formed according to the impressionists researches on engraving.