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A landscape paintingMcPherson, Cherry Lee Konersman, 1924- January 1953 (has links)
No description available.
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A series of original paintings in the non-objective styleMiller, Jack Garrett, 1926- January 1953 (has links)
No description available.
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Two original oil paintings; one objective and the second a decorative derivation of the firstStrochan, Phyllis Jane, 1928- January 1953 (has links)
No description available.
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Art expression experiments in painting related to ceramic sculptureFreedman, Ben Frank, 1920- January 1957 (has links)
No description available.
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115 |
The two dimensional treatment of an original problem in landscape paintingStanley, William Clinton, 1927- January 1957 (has links)
No description available.
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Mea culpa; an oil paintingMurolo, Marco, 1908- January 1958 (has links)
No description available.
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117 |
Two original oil paintings: realistic and abstract phases of a street sceneKircher, Marianne Louise, 1928- January 1952 (has links)
No description available.
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118 |
A design problem and experiment in watercolorTheibert, Philip Richard, 1924- January 1958 (has links)
No description available.
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A homage to memoryRandel, Noel L January 2003 (has links)
The basis for this project is the visual representation of memory. Both the past and present are depicted using the tools of a painter and a drawer in the traditional form of watermedia on paper. The question arose: by making a visual record of events that were witnessed, heard, or thought about, could someone piece together a visual representation of memory? This investigation and research sheds light on the nature of memory, its capacity as well as its foibles, while the body of artwork will explore and attempt to hold onto "time". Understanding that the brain processes memory by extracting key elements from experiences for storage, one can visually represent these same key elements in an artwork and generate the memory in what is essentially a "hard copy". In perspective to my artwork, I took a mental note of certain events within a day's time, and sketched the objects that struck my attention on that very same day. I am for all intents and purposes, paring down a day to its most basic elements and recreating the experience: constituting a moment or a memory. / Department of Art
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Contemporary figurative painting using old master's techniquesSmith, Elinor Howard January 1984 (has links)
This creative project consisted of four figurative paintings and a paper centered on whether the artist could incorporate convincingly the oil techniques of the past with contemporary content. Several popular techniques used by old masters were researched, documented and adopted for use in the paintings of this project. Techniques discussed included early Flemish egg tempera with oil introduced by the Van Eycks, methods of Durer, the Venetian style of Titian, Veronese, Caravaggio, and the methods of the Dutch and Flemish Baroque, Rubens, Hals, Rembrandt, and Vermeer.In addition, the techniques and intentions of three contemporary figurative painters, Jack Beal, William Beckman, and James Valerio were discussed.
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