Bohemian art of the second half of the fourteenth century is closely associated with the personality of Charles IV, Emperor of the Romans and King of Bohemia (1316--1378). In an effort to legitimize his reign as ruler of the Holy Roman Empire and to raise the profile of his ancestral Bohemian lands, he leaned on the power of history to reveal his heritage as stemming, on one side, from an illustrious line of emperors including Charlemagne, and on the other, from the dynasty of Bohemian sovereigns. He recognized that art could display this legitimization and so implemented a programme of historicism in his artistic commissions. His impact on Bohemian art was indirect as well: his ideas influenced the art patronage of his closest court advisers, as seen in this paper through the examples of two illuminated manuscripts, the Evangeliary of John of Opava and the Liber viaticus.

The purpose of this thesis is to research vocal and instrumental ensembles that are part of music department at Fr. Kmoch Primary school of Art in Kolin. To record their history, endeavours and the efforts of their conductors and choirmasters. For the sake of completeness I do also mention the graduates who went through these ensembles and then decided to study the music at high schools or at universities and also those who remain dedicated to orchestral and group performing even after finishing the primary school. Powered by TCPDF (www.tcpdf.org)

This diploma thesis focuses on the phenomenon of the piano competitions. The main aim of the theoretical part is to describe the historical development of the piano competitions and to analyse the world's most recognized piano competitions. The following chapter discusses the topic of a piano career. It provides an extensive knowledge of the piano competitions, gathered from the famous pianists and piano teachers. Their pedagogical statements have been used in the practical part of the thesis to define hypothesis for the research survey, and also to gain a better insight into the use of the piano competitions as a pedagogical tool in the piano students development. The final part analyses the survey results and summarizes the piano competitions that are organised for young pianists in the Czech Republic. In addition, it provides practical recommendations for young students and their teachers on how to prepare for a piano competition.

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The thesis "Factors that affect professional development of a headmaster" aims to research influences on further professional development of headmasters of primary/elementary/basic schools of art in Central Bohemia Region. Through questionnaires based on methods of quality and quantity research, the goal is to compile a ranking of factors that influence professional life of head teachers of art schools. Some of the tasks were to investigate about initial experience of future head teachers, if they find the law-imposed qualification sufficient or how family backround, health or personal characteristics influence their professional development. The results of the investigation and conclusions will broaden theoretical and empiric knowledge of the demanding work of head teachers and introduce some new facts about work of head teachers of art schools. KEY WORDS: primary/elementary/basic school of art, head teacher, development, motivation, education

This thesis is an examination of policy-making and practice in design education in England from 1837-1992. It takes a longue durée approach to the history of the development of design education to provide a new narrative which shows a pattern of recurring debates concerning the purpose of design education and how it should be taught. Using the curricula of furniture design courses at three art schools to illustrate the way policy was put into practice, this thesis argues that historical context is key to understanding why debates regarding the way designers should be trained for industry have recurred since 1837. Based on a wide variety of primary source material the thesis contributes to historiography by extending the scope of previous histories of art and design education, and also, for the first time, focuses solely on the development of design education, whilst acknowledging its place in the wider development of art and design education. Following the introduction, chapter two of this thesis examines the events which led to the 1835-6 Select Committee and argues that many of the issues raised during the Committee influenced the teaching of design education through the remainder of the nineteenth century; this is further demonstrated through chapter three. Charting the development of design education into the twentieth century through chapters four, five and six, this thesis shows that changing historical contexts, such as the development of industrial methods or wider changes in higher education, have also had an impact on design education. In the light of changing historical contexts, policy makers for design education have continually questioned what design students should be taught and how they should be taught, which accounts, in part, for the recurring nature of debates in design education.

The seaport of Bombay is often referred to as India's "Gothic City." Reminders of British colonial rule are seen throughout South Bombay in its Victorian architecture and sculpture. In the heart of Bombay lies the Victoria Terminus, a towering, hybrid railway station blending gothic and vernacular architectures. Built at the height of the British Empire, the terminus is evidence of the rapid modernization of Bombay through the philanthropy of the Parsis. This religious and ethnic minority became quick allies to the British Raj; their generous donations funded the construction of the "Gothic City." The British viewed the Parsis as their peers, not the colonized. However, Parsi-funded architectural ornament reveals that they saw themselves on equal footing with Bombay's indigenous populations. The Parsis sought to integrate Indian and British art, design, and culture. Through their arts patronage they created an artistic heritage unique to Bombay, as seen in the architectural crown of Bombay, the Victoria Terminus.The Parsi philanthropist, Sir Jamsetjee Jeejeebhoy was the most influential in Bombay's modern art world. He was chosen with other Indian elites to serve on the selection committee for the Great Exhibition of 1851 in London. He selected India's finest works to demonstrate India's rich tradition of the decorative arts. In turn, these works were viewed within the Indian Pavilion by the Victorian public and design reformer Owen Jones. Jones used many of the objects at the India Pavilion in his design book, The Grammar of Ornament. This book went on to inspire the eclectic architectural ornament of Victorian Britain and eventually Bombay. Jeejeebhoy sold the majority of the works from the exhibition to the Victorian and Albert Museum and the Department of Sciences and Art in South Kensington. The objects were studied by design students in South Kensington who were later hired by Jeejeebhoy to be instructors at the Bombay School of Art. This school taught academic European art alongside traditional Indian design forthe purpose of creating public art works. Thus, the Parsis were important cultural mediators who funded British and Indian craftsmen to create symbols of "progress," such as the Victoria Terminus, for a modern India.

Bibliography: leaves 537-561 / xxi, 561 leaves : ill ; 31 cm. / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / Thesis (Ph.D.)--University of Adelaide, Dept. of Education, 1993?

This thesis addresses a gap in research regarding South Australian china painting. Although china painting has been practised in Australia for the last 120 years and is held in major Australian collections, it has been little researched and then in a minor role associated with ceramics and studio potters, or as women’s art/craft. The china painters too, have been little researched. My research identifies the three ‘highs’ of the changing fortunes of china painting, and how the practice survived in between. I argue that it was first taught in the city’s School of Design, Painting and Technical Art in 1894 as a skill for possible industrial employment, due to the initiative of School Principal, Harry Pelling Gill. However china painting classes were discontinued by 1897 due to an economic depression and the fact that the anticipated industry did not eventuate. In 1906 china painting classes were reinstituted in the (re-named) Adelaide School of Art and teacher Laurence Howie was pivotal in that revival. China painting classes ceased during the First World War while Howie served overseas in the Australian Forces, but resumed in 1923 after his return and appointment as Principal of the (renamed) School of Arts and Crafts. The resulting change in the fortunes of china painting was the outcome of the School’s appropriate training in art and design, and I argue this enabled emerging professional female artists to confidently exhibit china painting alongside their fine art. I will devote a chapter to the important role of the South Australian Society of Arts in facilitating this important public exposure of china painting. The Second World War marked a decline in popularity of china painting. Chapter 5 traces its survival till it burst into popularity again in 1965. Further chapters describe china painting’s following meteoric rise in fortune and the role played by the South Australian teachers of the art/craft, few of whom had received formal art training. I argue that china painting became a conservative social craft, but nonetheless a serious hobby, pursued by married, middle-class women who strongly believed their work was art, not craft. I will point out how they were visited and influenced by entrepreneurial American teachers, politically active in the art/craft debate in the United States of America. Chapter 8 will chart the steps taken by Australian teachers in the 1980s to break from the American influence and regain an Australian identity in teachers’ organisations and iconography. I will describe the debates that ensued following experimental work exhibited by avant-garde Australian teachers to resolve the art/craft debate regarding china painting in Australia, and the difficulties of maintaining china painting momentum as the majority of practitioners became elderly women. This thesis identifies education of the practitioners as a key factor throughout South Australian china painting history as a way of better understanding the place of china painting within the decorative arts. China painting is currently in decline; nevertheless, as I will point out in my conclusion, there are several future pathways it could take. Only within recent decades have curators and writers shown an increased interest in women’s decorative arts, including china painting. It is timely to undertake research before existing documentation of china painting is lost. / http://proxy.library.adelaide.edu.au/login?url= http://library.adelaide.edu.au/cgi-bin/Pwebrecon.cgi?BBID=1374281 / Thesis (Ph.D.) -- University of Adelaide, School of History and Politics, 2009

This thesis addresses a gap in research regarding South Australian china painting. Although china painting has been practised in Australia for the last 120 years and is held in major Australian collections, it has been little researched and then in a minor role associated with ceramics and studio potters, or as women’s art/craft. The china painters too, have been little researched. My research identifies the three ‘highs’ of the changing fortunes of china painting, and how the practice survived in between. I argue that it was first taught in the city’s School of Design, Painting and Technical Art in 1894 as a skill for possible industrial employment, due to the initiative of School Principal, Harry Pelling Gill. However china painting classes were discontinued by 1897 due to an economic depression and the fact that the anticipated industry did not eventuate. In 1906 china painting classes were reinstituted in the (re-named) Adelaide School of Art and teacher Laurence Howie was pivotal in that revival. China painting classes ceased during the First World War while Howie served overseas in the Australian Forces, but resumed in 1923 after his return and appointment as Principal of the (renamed) School of Arts and Crafts. The resulting change in the fortunes of china painting was the outcome of the School’s appropriate training in art and design, and I argue this enabled emerging professional female artists to confidently exhibit china painting alongside their fine art. I will devote a chapter to the important role of the South Australian Society of Arts in facilitating this important public exposure of china painting. The Second World War marked a decline in popularity of china painting. Chapter 5 traces its survival till it burst into popularity again in 1965. Further chapters describe china painting’s following meteoric rise in fortune and the role played by the South Australian teachers of the art/craft, few of whom had received formal art training. I argue that china painting became a conservative social craft, but nonetheless a serious hobby, pursued by married, middle-class women who strongly believed their work was art, not craft. I will point out how they were visited and influenced by entrepreneurial American teachers, politically active in the art/craft debate in the United States of America. Chapter 8 will chart the steps taken by Australian teachers in the 1980s to break from the American influence and regain an Australian identity in teachers’ organisations and iconography. I will describe the debates that ensued following experimental work exhibited by avant-garde Australian teachers to resolve the art/craft debate regarding china painting in Australia, and the difficulties of maintaining china painting momentum as the majority of practitioners became elderly women. This thesis identifies education of the practitioners as a key factor throughout South Australian china painting history as a way of better understanding the place of china painting within the decorative arts. China painting is currently in decline; nevertheless, as I will point out in my conclusion, there are several future pathways it could take. Only within recent decades have curators and writers shown an increased interest in women’s decorative arts, including china painting. It is timely to undertake research before existing documentation of china painting is lost. / http://proxy.library.adelaide.edu.au/login?url= http://library.adelaide.edu.au/cgi-bin/Pwebrecon.cgi?BBID=1374281 / Thesis (Ph.D.) -- University of Adelaide, School of History and Politics, 2009