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George Clint (1770-1854) : theatrical painterNisbet, Archibald January 2001 (has links)
The thesis treats the theatrical scenes and single figure portraits of actors and actresses en role by George Clint. The development of theatrical scene painting in England during the eighteenth century is traced from its antecedents in The Netherlands and France through to the arrival of Clint. There is a brief review of Clint's career to 1816 when he exhibited his first theatrical scene at the Royal Academy. To define the area in which Clint worked, a chapter explores the theatre of the time. His theatrical scenes are discussed for each of the three phases of his work which I have identified. The first phase terminated in 1821 when he was elected ARA. His second phase ran through the 1820s when he continued his earlier manner of painting scenes from staged productions, with portraiture. In the last phase during the 1830s his style and subject material changed. He was essentially a painter of the comic, initially of largely contemporary comedy and farce, but after 1830 of the more substantial comedies of Shakespeare. At the same time his style changed to a more distanced treatment of the theatre without reference to specific productions or casts. The treatment of his theatrical scenes is followed by a consideration of his single figure theatrical portraits of actors and actresses. An important goal for Clint was full membership of the Royal Academy; that he never achieved it led to his resignation in 1836. The position of the Academy at the time, and in particular Clint's situation, is considered. Clint is seen as a peculiarly representative figure in the debates on both the fine arts and the theatre, working as he does at the junction of the two arts and affected by the problems of both.Prints from Clint's theatrical scenes and individual theatrical portraits, both as independent works and as book illustrations are also discussed. Finally, his influence and the reason why the genre of theatrical scene painting came to an end in him are considered 3
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Paint manager for 2008-2009 academic year and paint charge for three sisters and twelfth nightShelton, Rebecca S. January 2009 (has links)
Thesis (M.F.A.)--Kent State University, 2009. / Title from PDF t.p. (viewed Jan. 22, 2010). Advisor: Raynette Smith. Keywords: Theatre; Scenic Charge Artist; Paint.
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An analysis and investigation of current German scenic materialsDryden, Daniel D., January 1972 (has links)
Thesis (M.F.A.)--University of Wisconsin--Madison, 1972. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.
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The artistic approach of the Grieve family to selected problems of nineteenth century scene painting /Hamblin, Junius N. January 1966 (has links)
No description available.
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Der Bühnenbildner Panos Aravantinos und seine Tätigkeit an der Staatsoper Berlin (1919-1930)Chelmis, Constantin, January 1975 (has links)
Thesis--Freie Universität Berlin. / Includes bibliographical references (p. 144-150).
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Scénographie cinétique : la voix du vide /La Haye, Caroline, January 2003 (has links)
Thèse (M.A.) -- Université du Québec à Chicoutimi, 2002. / Bibliogr.: f. [59]-63. Document électronique également accessible en format PDF. CaQCU
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Reduce, Reuse, Recycle – Research: Sustainable Scene Design for a Production of Henrik Ibsen’s <i>An Enemy Of The People</i>Quinlan, Joshua Mortimer 14 September 2016 (has links)
No description available.
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