Thesis (M.A.)--University of Wisconsin--Madison, 1973. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Thesis (M.A.)--Guo li Taiwan da xue. / Reproduced from typescript. Bibliography: p. 141-151.

Thesis (Ph. D.)--Ohio State University, 1946. / Includes bibliographical references (leaves 77-80). Available online via OhioLINK's ETD Center.

Thesis (M. Sc.)--University of Canterbury, 2006. / Typescript (photocopy). Includes bibliographical references (p. 66-73). Also available via the World Wide Web.

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From introduction: "To affirm that a work of art is good or bad is to commend or condemn, but not describe . Thus criticism does not, and cannot, have the impersonal character and strict rules applicable independently of time and place," .. . (Macdonald 1966: 111) "Criticism and appraisal, too, are more like creation than like demonstration and proof." (Macdonald 1966: 112) This essay articulates evaluatory criteria that are used by both critics and laymen and which are cross -culturally applicable. Thus it seeks to articulate relatively objective types of criteria which we all use when evaluating paintings. This essay articulates fixed and objective criteria, but within these categories recognizes that there is much room for skillful, sympathetic and knowledgeable criticism. Thus criticism is a creative act. These objectively- articulated criteria are best seen as aids to, rather than carbon copies, for evaluation.

The reception of French pictures, artists and art literature in Britain during the early eighteenth century has hitherto remained an understudied area within British art history. Modern scholarship has often characterised this period as experiencing an influx of continental influences which aided the development of British art, collecting, and patronage. However, there is the tendency to focus such a study within the latter decades of the century. This thesis combines document-based research with pictorial study in order to determine the ways that English audiences responded to the presence of French pictures, but also imitated, modified and criticised French artistic ideas and forms during the period Four chapters explore the different ways in which English travellers, collectors and patrons came to acquire, commission and learn about French painting. This will firstly be achieved through a consideration of English artists visiting Paris during this period, and associated travel literature, particularly the notebook of the painter James Thornhill. This leads to an examination of the interactions between collectors and their agents and dealers in the acquisition of French pictures on the London art market and abroad. This study also establishes the impact of French visual and literary sources on the mural paintings of Louis Laguerre and his English patrons. Lastly, this thesis considers the readership for French art literature and the contribution of English translations and treatises. Together, these topics serve to illustrate the multitude of ways in which French art and ideas became embedded within English artistic culture during this period.

In this thesis, I have made an attempt to discuss and comment on oil painting from the "angle of concepts, forms, both traditional as well as more recent techniques of modern painting