The rock paintings of the hunter-gatherers in the province of Norrland, and their localisation. The aim of this thesis is to find a couple of distinguishing features for the localisation of the rock paintings of the hunter-gatherers in Norrland. This will be done through studies of Swedish and international literature, about ancient rock-art and the belief system of the hunter-gatherers. I will make comparisons  with other groups of hunter-gatherers and try to find analogies. My belief is that there must be a large number of undetected rock paintings in Norrland. They are hard to find because of overgrowth by lichen and damages due to wethering. Theretoo I feel that there hasn´t been enough of structured surveys. I hope that my resulting short list of practical clues of where to find them will help: seek for them in the boreal forest area from 200 meters above the sea level to the present alpine tree line zone in close vicinity to neolithic winter dwellings in close vicinity to pitfall traps on vertical rock walls of cliffs or boulders in close vicinity to standing water/ alternatively in a hillside in the forest the rock faces to the south on imposing natural formations try to find them in cloudy, humid weather

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A series of recognition memory experiments using masterwork paintings and words are reported in which participants were reliably conservative in endorsing images of paintings as “studied”. The current paper establishes the historical context of this materials-based bias effect (MBBE) and presents two new experiments aimed at characterizing the underlying mechanisms. Nine previous experiments are reviewed to illustrate the MBBE’s robustness to various encoding and test manipulations and the insufficiency of two prior hypotheses to account for its origins. Meta-analyses of response bias and sensitivity and analysis of these measures by test quartile are presented and discussed along with receiver operating characteristics and response time data for all of these experiments. In one new experiment, the response scale on the recognition test was modified to allow participants to choose from not only “studied” or “not studied” options, but also options indicating uncertainty due to the similarity among test items. The hypothesis that these similarity/confusability-related responses would be chosen more for paintings was not supported. A second new experiment aimed to better characterize the time course of the MBBE by implementing a 1-s respond deadline, which it was hypothesized would reduce the effect, but this hypothesis was also not supported. Results of all experiments are discussed in the context of unequal variance and dual process models of recognition memory. / Graduate / 0633 / 0623 / kmfallow@uvic.ca

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A dissertation submitted to the Faculty of Science, University of the Witwatersrand, Johannesburg, in fulfilment of the requirements for the degree of Master of Science. Johannesburg, 2014. / This thesis presents data collected during the 2012 and 2013 recording of painted sheep imagery from five painted rock shelters in the northern Drakensberg, KwaZulu-Natal, South Africa. Through studying the micro- and macro-context of these paintings, I try to understand their presence in the rock art here. Paintings of sheep are believed to have been made by San hunter-gatherers and thought to be relatively old. Using multiple strands of evidence from the rock art, the excavated record, ethnographies, and drawing on human-animal theory, I explore when the sheep were painted, whose sheep were painted and for what reason.

MA (Fine Art), School of Arts, Faculty of Humanities, University of the Witwatersrand, 2011 / This dissertation offers the dramatic genre of tragicomedy as a critical entry point to the interpretation of Robert Hodgins' oeuvre. It examines the possible formal corresponding properties between tragicomedy, as outlined by Verna Foster, and selected paintings from Hodgins' oeuvre. These mechanisms involve the juxtaposition of conflicting impressions, such as those created by instances of the grotesque, the employment of multiple perspectives and the play-within-the-play. The paintings Madhouse with a View of Tyburn, Three Characters in Search of a Painter– and I know some smart-ass critic will say: 'Well, they didn't find him, did they?' and A Conservative Still Life feature in this discussion. It addresses tragicomedy and Hodgins' dualist visions and their potential to be interpreted politically as oblique comments on homogenised culture. It discusses tragicomedy as an ambivalent and abrasive theatrical form and suggests that the deliberate artifice in both Hodgins and tragicomedy can be approached as a mental projection. The plot features of Renaissance and late modern tragicomedy are compared to Hodgins' employment of anonymous figures and the figures' relation to their backgrounds. The notion of late modern tragicomedy as indicative of the death of tragedy and the tragic hero is introduced. The proliferation of everyday people as central characters in late modern tragicomedy is addressed and the relevance of Hodgins' use of stereotypes and caricature considered. The dissertation examines the political climate that informed the presentation of power of pertinent creative practitioners. A Beast Slouches is discussed as a manifestation of absurd power with reference to Yeats, Shakespeare and Jarry. It investigates Hodgins' appropriation of Jarry's Ubu as displayed in the lithograph series, Ubu Centenaire: Histoire d'un Farceur Criminel and draws a comparison with Ionesco's Macbett. It introduces the view of tragicomedy as the employment of a comic foundation with which to approach the tragic in a post Second World War paradigm and reasons that Hodgins, likewise, formally applies a comic caricature-like visual language to approach complex or tragic themes. The works on my exhibition, Masters: A Tragicomedy in Two acts of February 2011 is discussed in relation to this body of research.

Thesis (Ph.D.)--Boston University / PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you. / This study is limited to the murals of Théodore Chassériau (1819-1856). In the brief working period of less than fifteen years (1841-1855), Chassériau painted four important murals in Paris for: the church of Saint-Merri (1841-1843); the Cour des Comptes (1844-1848); the church of Saint-Roch (1851-1853); and the church of Saint-Philippe-du-Roule (1853-1855). Much of the reputation of Chassériau during his career rested on his murals, yet in less than fifty years after his death in 1856 he became virtually forgotten as a muralist. His portraits in the style of his master Ingres and his easel paintings more in the manner of Delacroix are well known but his murals have never been stuied separately. Moreover, the preparations for the murals recently willed to the Cabinet des Dessins du Louvre have not been published. The research was done almost entirely in Paris from the remaining murals, the drawings and studies, documents in archives, church records, old graphic works, architectural plans and records, articles in periodicals contemporary with the murals, and the artist's studio notes. Although Chassériau retained the decorative style of Ingres and borrowed the color of Delacroix, the artist's notes reveal a decided interest in realism. The evolution of his mural style was in this direction. The trip to Italy in 1840 and the one to Algeria in 1846 were the turning points in Chassériau's mural style. This is supported by his notes. His first two murals depended upon the classical souvenirs of Italy and is last two reflect the sun of Africa. Most of all, starting with a cool classicism close to Ingres's in his first mural, Chassériau achieved a decorative realism in his last mural. This realism has been overlooked until now but did not go unnoticed by the artist's contemporary critics in rare and forgotten articles. The same age as Courbet, the champion of realism, Chassériau was indeed an artist of his time. Yet it was the eclectic style and the exotic nature of Chassériau that influenced Puvis de Chavannes, Gustave Moreau, and the early Degas. His mural style formed a watershed of currents that found their channels only after him. The first volume contains the text. Each mural is studied separately from the first sketch to the finished work in position. Each mural is considered in its: a. architectural position; b. iconography; c. drawings and studies; d. formal elements; e. nineteenth-century criticism; f. summary. The second volume contains 210 black and white photographs. These cover the murals with several details but the greater number are of the drawings and studies along with architectural plans, diagrams, and reproductions of lost works taken from old prints. In addition, there are eight compositional studies by the author, two for each major mural . There are also two drawings by the author reconstructing for the first time the position and the iconography of the fifteen panels for the grand staircase of the Cour des Comptes burned in 1871. / 2031-01-01

This research records a three year journey of exploration through the visual arts, specifically painting and drawing in relation to the landscape. The written work presented here provides a support document to my final exhibition of paintings that were exhibited in the John Curtin Gallery at Curtin University of Technology from November 24th - December 15th 2002.The writing of this exegesis is in itself a creative piece, but it is not the same as the visual research that culminates in the paintings. I am convinced that to talk about creating art actually leads one away from being in the experiencing of that art, hence this writing discusses the processes involved and not the finished work. My primary objective within this exegesis is to present a discussion centred around some of the philosophical issues that became visible whilst carrying out my practical work. This discussion is also about process itself in art making practices and research, hence this exegesis is intended to run as a parallel to the visual body of work as presented in the final exhibition of works held in the John Curtin Gallery.I have intentionally used my own practice as a device to question the choices and outcomes of art making generally in an effort to add a little colour to the larger discourse of creative practices. Some of the writing may seem personal (apart from the journal notes) and again, this is an intentional device in order to bring about a sense of embodiment within the writing itself and a way of mirroring the processes within the paintings.

A valuable part of the history and prehistory of New Zealand in the form of drawings, paintings and engravings, is present in many of the limestone areas of New Zealand. Although undated, the drawings give an indiction of the way of life and the culture of the artists. There are three kinds of rock art in New Zealand: drawings or paintings and engravings in rock shelters and engravings on portable rocks. The most common variety of rock art is the drawings. Concentrated recording has revealed sites throughtout New Zealand, but most commonly in North Otago and South Canterbury. The drawings and paintings from these areas will be delt with in this thesis, with only brief mention of engravings and portable art forms. Drawing is defined as the use of a pigment such as charcoal and haematite applied dry to a surface. The drawings are not only executed in monochrome, but often incorporate red, black, and white.