Thesis (Ph.D.)--York University, 2008. Graduate programme in Women's Studies. / Typescript. Includes bibliographical references (leaves 400-444). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:NR51669

Thesis (Ph. D.)--Ohio State University, 2007. / Full text release at OhioLINK's ETD Center delayed at author's request

Magister Artium - MA (Anthropology/Sociology) / This thesis examines the production of commercial art in contemporary Mozambique. It explores the power relationship between local artists – painters and sculptors – and their patrons and brokers in the art market. This means, on one hand, that it looks at the artworks that have been produced during the late colonial period (1962 – 1974) and the post-colonial periods (June 1975 - 2010) and relates this to the changing political landscape in Mozambique. On the other hand, the aim is to explore the artists’ life histories, especially how their talent was first recognized, their art training (formal or otherwise), previous work experience, and the reasons for their current success (or lack thereof). This is done in order to see how and to what extent their artistic works have been influenced by external forces or actors. The power relationship existing between the art producers and their customers in the art markets in Mozambique is then related to the issue of globalisation. In this process, the study critically analyses who the actual art patrons of Mozambique art are and the extent to which Mozambican art is influenced by global forces. The focus is on a number of artists and the thesis examines their life histories specific to their art production in order to highlight the themes and trends of their art works. It was found that local art produced in Mozambique is not simply responding to local influences but also to global forces, of which the latter dominates. However, the study further reveals that while the art producers are influenced externally by their buyers, they (the art producers) have their own ways of manipulating their buyers in order to be able to sell their products. In other words, the artists have the power of mediating between local, personal influence and that of the patrons. / South Africa

South African artists, d i ssatisfied with the staid environment in local circles, felt the need to travel abroad for fresh stimulation. This need allowed for a historical investigation into the results, beneficial or otherwise, of the influence of European modernism on early twentieth century South African painters. Because of the numerous practising artists in South Africa at the time, it was found necessary to give cohesion to the artists discussed and, therefore the most pertinent were grouped into artistic movements. Thus, H.Naude, R . G. Goodman and H.S. Caldecott are discussed in conjunction with Impressionism. B. Everard, R. Everard-Haden and J.H. Pierneef are compared to the post-Impressionists and finally, I.Stern and M. Laubser are equated with the Fauves and Expressionists. To ascertain the true effect of European stylistic influence, a comparative analysis of work executed before European visits and upon the artists' return was imperative. Simultaneously, as part of the analysis, reference was also made to any work executed by these artists while in Europe. European movements of the period are also reviewed, enabling precise grouping and better understanding of t he styles adopted by the chosen group of early twentieth century South African artists. Some attention is given to the impact these artists had on South African art upon their return, as this confirms the degree of European influence and facilitates the classification of styles adopted by the selected group. In conclusion, to establish the extent to which European art was influential, a brief synopsis shows the changes in local groups, once these artists had re-established themselves in South Africa.

Ma Shou-chen, poet, calligrapher and painter was a courtesan of the Ming dynasty. By studying the life and works of Ma Shou-chen, who was not a member of either the scholar or the academic/professional class of artists but who was very desirous of conforming to literati aesthetic tastes in her artistic works, new light is thrown upon the problem of identifying new aspects of Ming dynasty literati aesthetic taste. A study of Ma Shou-chen’s works illuminates the question of identifying qualities of literati painting and also serves to examine the question of female artists in China. Female artists were known for their weak brush stroke and other negative qualities. Was this true, or was the "conventional wisdom" based on an attitude toward a female's social position rather than her ability as an artist? Ma Shou-chen provides us with a good example for examining these points. She is well-known in Chinese art history, yet she is discussed by Siren largely in sections restricted to female artists. In Chinese biographies too, mention of Ma Shou-chen is included with other female artists. The purpose of this thesis is to discuss a limited, though it is felt, a representative cross-section of her works with the aim of determining Ma Shou-chen’s place in art history. In Section I, biographical data concerning Ma Shou-chen is discussed. This includes an estimate of her active period (1570-1604). Her relationship with Wang Chih-teng, a leading literatus of the Suchow area, is examined together with an exploration of the relationship of special courtesans to the literati as a class. What this meant in Chinese society and the repercussions on the artistic output of courtesans is also discussed. Section II includes a discussion of the Chinese historical records which comment on Ma Shou-chen's works. There is also an exploration of the reason why certain artists and not others were named in records as having an influence on Ma Shou-chen's works. A brief discussion of the history of Chinese flower painting explains the relevance of placing Ma Shou-chen's works within the framework of literati rather than academic artists' works. A discussion of the critical comments regarding Ma Shou-chen's works by Chinese art historians gives rise to the possibility that critical comments were often based more upon social status than actual works. In Section III an analysis of Ma Shou-chen's artistic works, largely concerned with her speciality of orchid paintings, shows an historical process. However, there is no final classification of her undated works. In addition, the typical qualities of her works involves rather stable compositions, a propensity for stretching the brush strokes across the surface of the painting, little concern with atmospheric qualities or far distance. These facts serve to enhance the two dimensional quality of her paintings. This factor in turn serves to focus the attention of the viewer upon Ma Shou-chen's calligraphy. Section IV discusses the findings of the analysis of Ma Shou-chen's works in relation to Ming dynasty literati artists. This thesis concludes with the theory that smaller and more intimate literati works are more representative of the main- stream of literati artists in the Ming dynasty. The works of Ma Shou-chen, who was trained to respond to literati tastes and was an accomplished artist, show the more relaxed social atmosphere of the Ming dynasty. Two appendices are included. The first is a catalogue of the works of Ma Shou-chen discussed in this thesis. The second is a translation of the Chinese literary sources concerning Ma Shou-chen. / Arts, Faculty of / Art History, Visual Art and Theory, Department of / Graduate

Thesis (doctoral)--Universität, Freiburg, 2001. / Mixed media. Includes bibliographical references and register.

王雅君. / "2001年6月" / 論文 (哲學碩士)--香港中文大學, 2001. / 參考文獻 (leaves 146-159) / 附中英文摘要. / "2001 nian 6 yue" / Wang Yajun. / Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2001. / Can kao wen xian (leaves 146-159) / Fu Zhong Ying wen zhai yao. / 前言 --- p.1 / Chapter 第一章 --- 時代背景 / Chapter 〔一〕 --- 清初花鳥書壇 --- p.4 / Chapter 〔二〕 --- 宮廷繪畫活動.: --- p.10 / Chapter 第二章 --- 生平 / Chapter 〔一〕 --- 畫學世家 --- p.18 / Chapter 〔二〕 --- 天涯宦跡 --- p.25 / Chapter 〔三〕 --- 內廷供奉 --- p.27 / Chapter 〔四〕 --- 衣錦還鄉 --- p.31 / Chapter 第三章 --- 畫論 / Chapter 〔一〕 --- 《小山畫譜》》》 --- p.34 / Chapter 〔二〕 --- 從《小山畫譜》看鄒一桂的晝論 / Chapter 一 --- 以萬物為師 --- p.38 / Chapter ´ؤ --- 形似 --- p.41 / Chapter ´ؤ --- 臨摹須得古意 --- p.43 / Chapter ´ؤ --- 兩字訣 --- p.44 / Chapter 一 --- 賦色雅俗 --- p.46 / Chapter ´ؤ --- 西洋畫 --- p.47 / Chapter 第四章 --- 花鳥畫藝 / Chapter 〔一〕 --- 早期風格淵源 --- p.51 / Chapter 〔二〕 --- 供奉時期的轉變 --- p.56 / Chapter 〔三〕 --- 晚年畫藝 --- p.67 / 結論 --- p.70 / 附錄一：鄒一桂年譜 --- p.76 / 附錄二：鄒一桂繪畫作品表 / 甲部：紀年花鳥作品表 --- p.93 / 乙部：無紀年花鳥作品表 --- p.108 / 丙部：山水作品簡表 --- p.134 / 丁部：人物作品簡表 --- p.145 / 參考書目 --- p.146 / 圖版目綠 --- p.160 / 圖版 --- p.162

Proefschrift--Leyden. / Contains transcriptions from Payen's diaries with commentary. "Stellingen": leaf inserted. Includes bibliographical references (p. [763]-789) and indexes.

No description available.

This thesis examines the figurative work of Portuguese-born artist Maria Helena Vieira da Silva (1908-1992) completed between 1930 and 1946, in the cities of Paris, Lisbon and Rio de Janeiro. This thesis divests Vieira’s work of the persistent formalist framework from within which her artistic production has thus far been examined. Unlike any previous study, it explores the artist’s paintings through specific themes, subjects and forms of expression. By uncovering these narrative premises, we are able to re-assess the overall significance and contribution of Vieira’s pre-war work to her post-war oeuvre. Moreover, the interpretative framework that develops from this account re-draws Vieira’s position within the modernist canon; contrary to prevalently held views, her work ceases to be autonomous from its cultural field. The historical awareness embedded in the artist’s choice of subjects and themes captures the significance of the moment in history in which these paintings were completed. Yet, a contextual examination of Vieira's work in relation to the major streams of thought of the twentieth century reflects its elusive aesthetic nature. Each chapter examines specific themes and subjects. The first three chapters explore Vieira’s use of memory and the imagination through the expression of the child-like and the naïve, as ways to escape the mimesis of traditional painting. The introduction of these images alters the third person narrative quality of her work by bringing the artist’s perceptions to the forefront of her artistic production. The following three chapters explore Vieira’s subjective spatial quality, either through the use of linear formations of space, memory as projected on to urban landscapes, or simply by using her own image, in its numerous forms, as a spatial signifier. Moreover, in identifying Vieira’s choice of themes and forms of expression, this study observes the cross-roads of creativity that modernism inspired, disclosing the richness and plurality of sources involved in the production of painting, including literature, print-making and film.