- About
-
The Global ETD Search service is a free service for researchers
to find electronic theses and dissertations. This service is
provided by the
Networked Digital Library of Theses and Dissertations.
Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
Search results
Showing 11 to 20 of 20 (0.023 seconds)Spelling suggestions: "subject:"reinhart"" "subject:"reinhard""
| 11 |
Lee Bontecou's Early Reliefs (1959-1965): A Critical and Contextual AnalysisDalton, Rachel 30 November 2009 (has links)
American artist Lee Bontecou’s oeuvre is often described as difficult to categorize or “mysterious.” Her early work—a series of metal and canvas reliefs made between 1959 and 1965—is linked to a range of stylistic associations including such radically divergent movements as assemblage, minimalism and abstract expressionism. Alternately, contemporary art historian Mona Hadler cites a series of iconographic connections between Bontecou’s reliefs and the popular culture and politics of the late 1950’s and early ‘60s. Using historian Reinhardt Koselleck’s theorization of historical time where history is constituted by an amalgamation of “temporal layers” based on particular historical perspectives, this thesis will explore the varied stylistic associations of Bontecou’s early reliefs by investigating their artistic as well as social and political contexts. In doing so this thesis will demonstrate that these so-called “mysterious” forms were created and exhibited in relation to a several different historical perspectives or “temporal layers.”
|
| 12 |
The Modern Catalyst: German Influences on the British Stage, 1890-1918Dekker, Nicholas John 22 June 2007 (has links)
No description available.
|
| 13 |
Reinhardt, Martin, Richter : Colour in the Grid of Contemporary PaintingRISTVEDT, MILLY MILDRED THELMA 28 September 2011 (has links)
The objective of my thesis is to extend the scholarship on colour in painting by focusing on how it is employed within the structuring framework of the orthogonal grid in the paintings of three contemporary artists, Ad Reinhardt, Agnes Martin and Gerhard Richter. Form and colour are essential elements in painting, and within the “essentialist” grid painting, the presence and function of colour have not received the full discussion they deserve. Structuralist, post-structuralist and anthropological modes of critical analysis in the latter part of the twentieth century, framed by postwar disillusionment and skepticism, have contributed to the effective foreclosure of examination of metaphysical, spiritual and utopian dimensions promised by the grid and its colour earlier in the century.
Artists working with the grid have explored, and continue to explore the same eternally vexing problems and mysteries of our existence, but analyses of their art are cloaked in an atmosphere and language of rationalism. Critics and scholars have devoted their attention to discussing the properties of form, giving the behavior and status of colour, as a property affecting mind and body, little mention. The position of colour deserves to be re-dressed, so that we may have a more complete understanding of grid painting as a discrete kind of abstract painting.
Each of the three artists I have examined here employed colour and grid in strategies unique to their work and its purposes. Ad Reinhardt arrived at his 1960s “black” paintings out of a background that included strong political beliefs, resistance to the dominant strain of 1950s Abstract Expressionism, and a deep interest in eastern religions and Buddhism. Agnes Martin shared Reinhardt’s interest in Buddhism and eastern religions, but chose to move toward the light in the atmospheric colour of her paintings, speaking of the quest for perfection of the mind in her writings and interviews. Gerhard Richter’s colour charts, a longstanding major subset of the vast range of this prolific artist’s work, speak to a need to go beyond his love of painting to the ungraspable substance of colour itself. / Thesis (Master, Art History) -- Queen's University, 2011-09-27 12:34:58.813
|
| 14 |
The modern catalyst German influences on the British stage, 1890-1918 /Dekker, Nicholas John, January 2007 (has links)
Thesis (Ph. D.)--Ohio State University, 2007. / Title from first page of PDF file. Includes bibliographical references (p. 217-229).
|
| 15 |
'n Eksistensiële lees en interpretasie van gekose kunswerke van Reinhardt, Klein en Portway / Irene VenterVenter, Irene January 2014 (has links)
This study offers a comparative investigation into selected figurative and nonfigurative,
monochromatic (and mainly monochromatic) artworks by Ad Reinhardt,
Ultimate Painting nr 39 (1963), Yves Klein, Monochrome bleu (IKB 3) (1956) and
The thin red line (1970) by Douglas Portway. The aim of this research is to examine
the possible subjective, meaningful function of the seemingly objective artworks. The
selected artworks represent the formalist tendency of the high-Modernist conception
of art-as-art, or the artwork as an autonomous objective object. At first sight the
objective artworks seem to refute the subjective intentions of the artists who present
them as both an externalisation of subjective experience and as possibly meaningful
to the viewer. The investigation into the possible subjectively meaningful artworks is
guided by an Existential approach to the aesthetic experience, as proposed by
Nietzche’s Dionysian and Apollonian concepts as well as Sartre’s conceptualisation
of néantisation and the imagination respectively. Both philosophers describe
aesthetic experience as a meeting between both subjective and objective elements
of their philosophy. The experience of the aesthetic (in the artworks) ultimately leads
to a subjective space within which the seemingly objective artworks function as a
subjective platform on which the Existential search for meaning can be considered
(and possibly relieved). / MA (History of Art), North-West University, Potchefstroom Campus, 2014
|
| 16 |
'n Eksistensiële lees en interpretasie van gekose kunswerke van Reinhardt, Klein en Portway / Irene VenterVenter, Irene January 2014 (has links)
This study offers a comparative investigation into selected figurative and nonfigurative,
monochromatic (and mainly monochromatic) artworks by Ad Reinhardt,
Ultimate Painting nr 39 (1963), Yves Klein, Monochrome bleu (IKB 3) (1956) and
The thin red line (1970) by Douglas Portway. The aim of this research is to examine
the possible subjective, meaningful function of the seemingly objective artworks. The
selected artworks represent the formalist tendency of the high-Modernist conception
of art-as-art, or the artwork as an autonomous objective object. At first sight the
objective artworks seem to refute the subjective intentions of the artists who present
them as both an externalisation of subjective experience and as possibly meaningful
to the viewer. The investigation into the possible subjectively meaningful artworks is
guided by an Existential approach to the aesthetic experience, as proposed by
Nietzche’s Dionysian and Apollonian concepts as well as Sartre’s conceptualisation
of néantisation and the imagination respectively. Both philosophers describe
aesthetic experience as a meeting between both subjective and objective elements
of their philosophy. The experience of the aesthetic (in the artworks) ultimately leads
to a subjective space within which the seemingly objective artworks function as a
subjective platform on which the Existential search for meaning can be considered
(and possibly relieved). / MA (History of Art), North-West University, Potchefstroom Campus, 2014
|
| 17 |
The most radical act: Harold Rosenberg, Barnett Newman and Ad ReinhardtMarie, Annika 28 August 2008 (has links)
Not available
|
| 18 |
The best of all possible Worlds?Caro, Hernan D. 22 October 2014 (has links)
In dieser Arbeit werden vier zwischen 1712 und 1755 entstandene Kritiken von Leibniz’ Optimismus-Lehre der ‚besten aller möglichen Welten‘, wie diese in der Theodizee (1710) vorgestellt wird, dargestellt und kritisch untersucht. Nach der Meinung etlicher Kommentatoren wurde Leibniz’ philosophischer Optimismus erst nach dem Erdbeben von Lissabon 1755 und Voltaires Angriffen zum Ziel gewichtiger Kritiken seitens Philosophen und Theologen. Gegen dieses geläufige Bild zeigt diese Dissertation, dass jene Kritiken sehr bald nach der Veröffentlichung der Theodizee kamen, und dass zentrale Thesen des Leibniz’schen Optimismus schon in der ersten Hälfte des 18. Jh. Gegenstand philosophiegeschichtlich bedeutender Polemiken waren. Es wird gezeigt, dass die Kritik an Leibniz’ Gottesbegriff – der in dieser Arbeit als ‚intellektualistisch‘ bezeichnet wird – eine fundamentale Rolle spielt, und dass ein beträchtlicher Teil des Konflikts zwischen dem Optimismus und dem frühen ‚Gegen-Optimismus‘ durch den Konflikt zwischen Intellektualismus und Voluntarismus erklärt werden kann. / This work describes and examines four critical reviews, all of them written between 1712 and 1755, of Leibniz’s theory of optimism or the system of ‘the best of all possible worlds’, as it is presented in the Theodicy (1710). Several commentators state that the first important criticisms of Leibnizian philosophical optimism by philosophers and theologians came only after the Lisbon Earthquake of 1755 and Voltaire’s subsequent attacks. In opposition to this standard picture, this dissertation shows that criticisms emerged very soon after the publication of Theodicy, and that central theses of Leibniz’s optimism were already the target of significant philosophical criticisms in the first half of the eighteenth century. Furthermore, it is demonstrated that the criticism of Leibniz’s concept of God – a concept described here as ‘intellectualist’ – plays a fundamental role, and that a considerable part of the conflict between optimism and early ‘counter-optimism’ can be explained by referring to the conflict between intellectualism and voluntarism.
|
| 19 |
Cartoon Conceptualism: Periodical Comics and Modernism in the United StatesOwen, Benedict Novotny 25 September 2017 (has links)
No description available.
|
| 20 |
Divadelní studio Reduta jako příklad modernistické utopie / Theatre Studio Reduta as an example of modernistic utopiaJiřík, Jan January 2013 (has links)
1 ABSTRACT This thesis describes the theatre reform at the turn of 19th and 20th century in its wider sociocultural concept. It focuses on the reaction of theatre to the modernistic crisis of European culture and society. Modernism is understood here according to its wider thematic and chronological definition. Modernism is based on the conception of machine civilization as it was defined by a Polish sociologist Jerzy Jedlicki. Jedlicki places the rise of modernistic cultural formation into the second half of 18th century which is when a steam engine was invented and it was a time of social turbulence and changes in human spirituality. Another theoretical frame of the thesis is created by utopia phenomenon as it was defined by Jerzy Szacki. Second half of 20th century is considered to be the end of modernism, inasmuch the utopic visions which had been placed on theatre faded away. The main topic of the thesis is Juliusz Osterwa's and Mieczyslaw Limanowski's theatre studio Reduta. It was founded in Warsaw in 1919 and it was to a great extend inspired by Moscow theatre studios of Stanislavsky and by Polish theatre sources (Stanislaw Wyspianski). By studying selected examples, the thesis studies Reduta as a realisation of modernistic utopia when theatre was supposed to carry a special mission in renaissance of...
|
Page generated in 0.0286 seconds