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Grandma's pitcher : a series /Winn, Laura L. January 1991 (has links)
Thesis (M.F.A.)--Rochester Institute of Technology, 1991. / Typescript. Includes bibliographical references (leaf 18).
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A study of the origins and meanings of the 17th century Dutch and Flemish game piece as a Vanitas allegory /Yantz, Jayne Marie. January 1974 (has links)
Thesis (M.A.)--Ohio State University, 1974. / Includes bibliographical references. Available online via OhioLINK's ETD Center
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Studier i holländskt stillebenmåleri under 1600-taletBergström, Ingvar. January 1947 (has links)
Akademisk avhandling--Gothenburg. / Thesis statement on added t.p. "Bibliografi": p. 312-[315].
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The nature of realism /Maines, Lauren Ann. January 1988 (has links)
Thesis (M.F.A.)--Rochester Institute of Technology, 1988. / Includes bibliographical references (leaf 48).
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Outside inside /Clements, Cassie. January 2010 (has links)
Thesis (M.F.A.)--West Virginia University, 2010. / Title from document title page. Document formatted into pages; contains iii, 42 p. : col. ill. Vita. Includes abstract. Includes bibliographical references (p. 23).
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Opticality and tactility in selected South African still-life paintingFarber, Leora Naomi January 1992 (has links)
A dissertation submitted to the Faculty of Arts, University of the Witwatersrand, Johannesburg, in partial fulfilment of the requirements for the degree of Master of Arts in fine Arts
Johannesburg 1992 / This research examines some ways in which source material is interpreted in still life painting.
These interpretations will be explored from two positions in painting.
For my purposes, these positions will be termed opticality and
tactility. [Abbreviated Abstract. Open document to view full version][ / MT2017
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Intentionen der hollandischen Stillebenmalerei zwischen 1640 und 1680Pilz-von Stein, Juliane, January 1965 (has links)
Inaug.--Diss.--Munich. / Bibliography: p. 140-141.
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Re-envisioning the ordinary : a study of vantage points in paintingMcCune, Janet Marie Krupp January 1993 (has links)
Viewed from odd angles, the ordinary looks new and the commonplace becomes unusual. The purpose of my creative project, Re-envisionina the Ordinary: A Study of Vantage Points in Painting, was to use unusual vantage points and multiple viewpoints as compositional devices to show familiar household scenes and objects in a new way. Analysis of artworks and writings by realist painters such as Edgar Degas, Paul Cezanne and Pierre Bonnard helped me learn how each of these artists used unusual or multiple viewpoints While researching these artists, I began to understand why space is one of the fundamental issues of art. I found that, as an artist, I cannot use vantage points and viewpoints without considering the larger issue of space.Artists throughout time have wrestled with the question: how does one represent three-dimensional space on a two-dimensional surface? By presenting different treatments of space, I showed how various artists have answered the question. Leonardo da Vinci solved the problem using linear perspective. Edgar Degas and Pierre Bonnard answered the question usingoriental space and unusual or multiple viewpoints. Paul Cezanne's solution was a new system of unified space.Contemporary artists provide other answers to the question of space. Rene Magritte used the illusionary devices of linear perspective to paint his surreal world. Philip Pearlstein returned to Degas' and Cezannes' concept of space to emphasize both the three-dimensionality of the figures and the twodimensionality of the picture plane. David Hockney found his solution in the multiple viewpoints of cubism.My creative project is my answer to the question. I integrated unusual vantage points, and multiple viewpoints to create ten paintings with unified space. I used some conventions of linear perspective to show depth. For example, sizes and details in my paintings diminish with distance. I then contradicted the three-dimensionality by using some conventions of oriental space that flatten the picture plane: oblique perspective, overlapping and positioning an object next to the front surface. / Department of Art
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Meaning in Cezanne's still-life paintings.Jersky, Michelle January 1992 (has links)
A Dissertation Submitted to the Faculty of Arts,
University of the Witwatersrand, Johannesburg, for the
Degree of Master of Arts. / This dissertation examines Paul Cezanne's still-lifes and proposes
that the interpretation of meaning in these works depends upon the
analysis of their stylistic elements.
In Chapter 1 it is argued that the relationship between meaning and
interpretation in the discipline of Art History is a complex one. An
examination of the recent theoretical literature offers valuable
insights into the ways in which art historians have assessed this
relationship and the ramifications not only for the discipline, but for
the Interpretation of Cezanne's still-lifes.
The different ways in which scholars have interpreted Cezanne's
oeuvre (particularly in relation to formalist approaches) are
examined in the overview of the Cezanne literature in Chapter II. It
is suggested that the existing body of interpretations in the
literature forms an important part of a work's meaning and that
therefore, the meaning of Cezanne's still-lifes should not be
considered in an historical vacuum. furthermore, it is argued that
the formalist interpretation of Cezanne's still-lifes warrants reevaluation,
In Chapter III selected still-lifes are analyzed. The traditional art:
historical dichotomy, reflected in the Cezanne literature, between
'form' and 'content', is challenged, The genre of still-life is
contextualized in relation to Cezanne's other genres to substantiate
the notion of a 'drama of style' evident in the still-lifes. It is argued
that a stylistic approach to the still-lifes reveals both the importance
of style in the interpretation of meaning in the still-lifes and the
notion of artistic process evident in these works. / Andrew Chakane 2018
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Alexander Kanoldt und das Stillleben der Neuen Sachlichkeit /Fegert, Elke. January 2008 (has links)
Also issued as the author's thesis (doctoral--Universität des Saarlandes, 2006). / Includes bibliographical references (p. 401-428).
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