The purpose of the Creative Project was to investigate a variety of traditional and contemporary intaglio processes, to relate the processes to other artist's intaglio prints, and to further develop the writer's technical skills by creating a series of intaglio prints using the processes discussed in the research portion of the Creative Project. The Creative Project consisted of a written section containing background information pertaining to technical aspects of the medium and brief discussions of selected works by various artists, and the execution and discussion of a series of prints by the writer using the intaglio techniques separately and in combination with one another.The background information section of the Creative Project consisted of working definitions of technical terms and brief discussions of four prints selected from the Ball State University Art Gallery collection. The prints selected were executed by George Rouault, Susan Rothenberg, Chuck Close, and Jim Dine. The writer also included a brief discussion of some of Stanley William Hayter's contributions to intaglio printing.The execution of the Creative Project resulted in the creation of five intaglio prints. The prints were entitled Highway Aviary, Fish Anatomy, Family, Untitled (Seated Figure), and Dance of the Flightless Bird. Each print utilized different techniques or combinations of techniques on copper and zinc plates. The processes involved in the execution of the prints were engraving, etching, aquatint, mezzotint, and spit biting. The prints were black and white except for the work entitled Fish Anatomy, which was printed with four colors. The print entitled Dance of the Flightless Bird was printed using multiple colors, however the actual edition was black and white. The writer was able to acquire the necessary materials for completion of the project through a grant provided by the Ball State University Office of Research.The completion of the Creative Project resulted in the writer’s improved understanding of intaglio processes and greater technical skills resulting from extensive work in the medium. The Creative Project stressed the importance of intaglio printing in contemporary art and revealed the need for further investigation into experimental techniques in intaglio printing.

Thesis (Ph.D.)--University of Canterbury, 2006. / Includes bibliographical references. Originally published in print: (2 v. : ill. (some col.) ; 30 cm.) Also available via the World Wide Web.

Thesis (M.F.A.)--Rochester Institute of Technology, 1991. / Typescript. Includes bibliographical references (leaves 67-72).

Thesis (M.F.A.)--Rochester Institute of Technology, 1983. / Typescript. Includes bibliographical references (leaf 14).

Thesis (M.F.A.)--Rochester Institute of Technology, 1983. / Typescript. Includes bibliographical references (leaves 19-20).

Thesis (Ph. D.)--University of Canterbury, 2006. / Typescript (photocopy). Includes bibliographical references (leaves 216-266 (v. 1)). Also available via the World Wide Web.

Undergraduate honors paper--Mount Holyoke College, 2007. Dept. of Art. / CD-Rom includes images of art work. Includes bibliographical references (leaf 8).

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From about 1605 to 1613, the Dutch printmaker and draftsman Hendrick Goudt produced seven prints after paintings by Adam Elsheimer, the celebrated German artist active in Rome. Goudt's prints are virtuosic works that introduced Elsheimer's famously-rare, much-admired paintings to a broader audience while showcasing Goudt's unique talents as a printmaker. Goudt also produced over three hundred drawings over the course of his career. Different from his prints, his sketches are often impulsive, unresolved works-in-progress that never supported final, or finished works of art in the conventional sense. While many are based on iconic examples, others suggest his spontaneous recording of scenes of everyday life. Since his own time, Goudt has mainly been discussed as a subordinate figure to the more famous Elsheimer. His prints are generally considered to be technically-accomplished but largely reproductive works, and his drawings understood as amateurish productions. This dissertation, in considering Goudt's life and artworks as interdependent areas of study for the first time in art historical scholarship, has three primary goals: to establish more concretely the facts of Goudt's life through a close reading of surviving archival documents; to provide a thorough understanding of his prints and drawings in terms of his technique and influences based on an analysis of his works in European and American collections; and to consider Goudt within his artistic and social context. This research draws on recent scholarly investigations of early modern print culture, integrating a more nuanced understanding of the reproductive print to elucidate Goudt's works as virtuosic performances of his self-identification as an artist, a cultivated gentleman and art lover (liefhebber). His persona was shaped by notions of ideal behavior and etiquette promulgated in writings from the sixteenth century onward. His sketches, which demonstrate his commitment to drawing as a pedagogical tool, also relate to the practice of draftsmanship as a noncommercial activity among gentlemen, and thus suggest an image of Goudt as a privileged aesthete. In this sense, Goudt's works not only reflect his particular sense of self, but also embody the social values and ideals of the environment in which he and his artworks circulated.