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Thesis (M.F.A.)--Rochester Institute of Technology, 1991. / Typescript. Includes bibliographical references (leaf 30).

Thesis (doctoral)--Université de Rennes II, 1975. / Vol. 3 entitled: Illustrations. Includes bibliographical references (v. 2, p. 1012-1082) and index.

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This thesis is a description and analysis of work I produced at the University of New Orleans during my Graduate studies. My work centers on the theme of tension, human interaction, and the vulnerability and dominance of those interactions. I create paintings, drawings, and prints to articulate my theme of tension. These works of art are meant to describe the feeling of tension through my mark making.

This dissertation calls attention to the significance of translation for two related trends in American art and visual culture of the antebellum and Civil War eras: the transatlantic expansion of the nineteenth-century French art publishing industry, and the conceptual shift in the period's literature on reproductive prints from the notion of imitation to that of translation. The production, circulation, and consumption of reproductive prints were tied to the period's innovations in printing, and to broader patterns of transatlantic economic integration and exchange. These developments placed Americans in increased contact with European art and visual culture. Focusing on the decades following the Parisian firm Goupil & Company's establishment in New York, this dissertation investigates the impact of the proliferation and widespread dissemination of what Americans saw as translated images--that is, French-made reproductions of European and American works of art. The first part of this dissertation explores how Goupil's establishment in New York in 1848 and the firm's subsequent investments in lavish publications of American paintings destabilized the American approach to the translation of the image and influenced the manner in which both critics and artists conceived of the visual arts as a repository of American national identity. Engravers' lines were more than a place for the adaptation and representation of the European artistic legacy. They were also a locus for critical cultural, social, and political transformations. The second part of this dissertation examines how American artists working either in the United States or in Europe engaged with the period's transatlantic visual culture of reproduction, and with a notion of translation conceived both in literary and visual terms. George Caleb Bingham and Richard Caton Woodville, two of the leading antebellum American genre painters, and Thomas Nast, the most influential cartoonist of the Civil War and Reconstruction era, deployed the visual possibilities of translation in relation to the transatlantic production and circulation of reproductive engravings not only to address various local, national, and transnational audiences but also to articulate their own creative practices and mode of artistic expression in an expanding art world. Unlike earlier studies, which focused on American artists' expatriation to Europe in the later part of the nineteenth century, this dissertation shifts attention to the early impact of French prints on the visual imagination of American artists and illustrators during the antebellum and Civil War eras. Focusing on the circulation and displacement of images rather than artists' migration, this thesis demonstrates that continuous processes of integration, representation, and transformation were as significant to the artistic relationship between France and America as were the later experiences of rupture and estrangement highlighted by the studies of artists' expatriation. By foregrounding American artists' approach to the metaphorical understanding of reproduction as translation, this dissertation extends our understanding of the nineteenth-century practices and processes of Euro-American exchanges beyond the tensions between the recognition of an artistic affiliation and the search for artistic independence. Positioning American art in a world frame, this dissertation enriches the broad investigation of cultural exchanges that have been at the core of the recent scholarship on American art.

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The artist's imagery mainly consists of carrousel horses and reptiles. The only thing that relates the images of the reptiles and the carrousel horses in the artist's work is the fact that she finds both images fascinating and intriguing, but at the same time, finds both of these images some what repulsive and frightening. As a child, the artist developed a fascination for carrousel horses and reptiles. At this time these images mainly inspired feelings of fear in the artist. In the artist's opinion, carrousel horses seem to be frantic and frenzied. The artist feels that this aspect of carrousel horses makes them an image with expressive possibilities and she attempts to capture feelings of fear, curiosity and fascination in her prints. The artist is amazed at the variety of colors and textures found on reptiles. She finds them interesting images because although most reptiles are menacing creatures, they are also beautiful and exotic. The artist feels that this aspect of the reptile makes it an intriguing subject matter to work with.Intaglio is a form of printmaking in which a metal plate, traditionally copper or zinc, is manipulated by certain techniques such as: line etch (where a dry-point needle is used to scratch the surface of the plate onto which hard ground [an acid resistant, waxy substance] has been applied and the plate is etched in acid to incise the lines and form a line drawing); and aquatint (a technique to achieve a wide range of tones in an intaglio print). Aquatint has an appearance similar to that of a water color wash. To create the aquatint tonal areas, powdered rosin is sprinkled evenly over the plate and the plate is then heated until the rosin melts and adheres to the plate. The areas that are to remain white are covered with a hard ground "block out." The plate is etched in acid for a period of time to be determined by the artist and is then taken out and rinsed with water to stop the acid from etching the plate any further. This process is repeated until a desired range of tones are created. Another technique usually used is a hybrid combination of burnishing and scraping using a burnisher or scraper. A burnisher and a scraper are patented tools that are used to polish (burnish) and scrape (that is, cut/remove metal from the plate) the surface of the plate to create highlights, lighten an area, or to totally erase an incised area of the plate. Embossing is another form of intaglio printmaking in which three layers of illustration board are cut to form a positive image on a piece of dampened arches paper that is pressed into the carved image by means of a printing press. The deeper the embossment, the more elevated the image will be on the paper. Pressing the paper down into the layers of illustration board forms an embossed image. No ink is used to create the image. Thus, this form of intaglio printmaking is known as "blind" printing, that is printing without ink.In the artist's work, all of the intaglio techniques discussed are used in combination with each other on the same plate to create a rich image. Researching different techniques has allowed the artist to have a better understanding and appreciation for the intaglio prints of historically renowned artists, who were printmakers before the artist. / Department of Art

This project involved making a series of woodcut and intaglio prints based on Muncie's urban landscape. The idea of a generic specific - a place unique to one area yet readily recognized across the industrialized world as familiar - is introduced and explored. In addition the idea of impermanence and flux is discussed in terms of how the time that I am living in now has its own unique features that will be obsolete, ruins, or altogether forgotten in the next fifty to seventy-five years. The work also explores the aesthetic merits of buildings like gas stations and vehicles - objects that are generally unconsidered in that way. In completing this series a historical documentation of this period of time was created, valuable to both those living now and those to come. / Department of Art