M.A. (Art History) / The sculpture of the mature artist Edoardo Villa is characterised by sequences of apparently contrasting phases. Analysis reveals that formal ideas from earlier periods are freely combined in new variations. Formal ideas unfold and are brought to fruition in a continuous development. Form, however, can never be analysed without considering its meaning. Previous writers on the sculpture of Edoardo Villa have, at various stages, identified most of its typical formal characteristics and indicated the meanings of specific phases. This thesis sets out to study, systematically and chronologically, Villa's whole oeuvre up to 1979. The evolution of his formal language, and the concomitant shifts of emphasis in meaning can be traced. Accordingly the sculptures seem to fall roughly into eleven groups. The first chapter examines Villa's formative years in a classical Italian Humanist context, albeit in the Fascist period, and then his early years in South Africa (c. 1935-1957). From 1947 rapid changes occurred, both in form and meaning. ·A simplification of organic or geometric shapes gave way to abstract sculptures, made possible in part by adopting the technique of welding metal instead of modelling. Changes in meaning ~ere inevitable: in Italy commissions called for heroes and angels; during the war years traditional themes sought to convey the sentiments of a war-torn generation. The female archetype followed, to be replaced by universal forms of human or animal torsos. Conventional meanings disappeared from the abstract structures, which are intuitive images of his new ambience. The second chapter examines· the years 1958 to 1970 during which Villa mastered metal in the creation of primarily vertical structures. However, modelling recurred at intervals, and a reciprocal influence between the two media took . place. For a time Villa's abstract works illustrate what van Peursen calls the functional nature of 20th century culture. Then Villa returns to figurative themes, creating archetypes in an expression of the mythological aspect of human consciousness, and showing similarities with African tribal art. Subsequently he arrived at images of an ontological nature, with less emphasis on the interrelationship of objects and a greater emphasis on the individual. By 1968 the linear, vertical and often frontal compositions were superseded by more massive horizontal and asymmetrical groups. The sculptures of the seventies are examined in the third chapter. Sign-like emblems of human groups were created with pipes. Bright colour became integral to Villa's formal language in non-figurative constructions. Vertical compositions were more open, and less symmetrical. Groups suggesting human figures reaffirmed Villa's main preoccupation. He seemed increasingly to express the moods of his time: massive, ebullient forms in a materially confident society; tensions of balanced line in a society under the stress of evolution. Forms opened up further, textures became rougher, colours more earthy. By the end of the decade figuration was emphasized; the symbol returned. In the cyclic flow of Edoardo Villa's development, -he balanced the formal constraints of apparently contradictory qualities: organic and geometric, open and closed, vertical and horizontal, mass and movement. At various intervals Villa embodied signs, images, and symbols, expressing the functional stage of 20th century human consciousness, which encompasses both the mythological and ontological phases of its historic development.

M.A. (Art History) / Please refer to full text to view abstract

The Owl House is situated in the Karoo village of Nieu Bethesda, and the person responsible for its creation, Helen Elizabeth Martins (1897-1976), is South Africa's best known Outsider artist. A number of newspaper and magazine articles, television programmes, radio interviews, play, films, short stories, theses and art works have resulted directly from her work. Interest in The Owl House continues to grow, with visitors coming from all over South Africa, and various parts of the world,to visit it. The Owl House was Helen Martins' home for most of her 78 years. During the last 30 or so years of her life she devoted all her time and energy to transforming the interior of her house into a glistening fantasy world of colour and light, using crushed glass stuck to almost every surface, coloured glass pane inserts in the walls, mirrors of many sizes and shapes, and countless paraffin lamps and candles. She called her garden' A Camel Yard', and filled it with over 500 cement statues, structures and bas reliefs. All the labour involved, apart from crushing and sorting the coloured glass, was provided by at least four different men, who assisted her over the years, Johannes Hattingh, Jonas Adams, Piet van der Merwe and Koos Malgas, though Helen Martins was the inspiration and director behind it all. Through a study of Helen Martins' background and life, and their effects upon her psyche, a rigorous attempt has been made to reach some understanding of why she became a recluse, and what caused her to create this unique body of work comprising her entire domestic environment. She became increasingly asocial as her life progressed, and ultimately ended it by committing suicide in 1976. Through the universality of symbolism, the meanings of the subjects, themes and concerns which she chose to depict are studied. Then, together with some knowledge of her life and personal influences, an attempt has been made to deduce what it was that Helen Martins was trying to express and work through in her creations. This study also led to an awareness of the fact that, although each one is unique, there are many examples of Outsider Art throughout the world. Fundamentally, creators of Outsider Art remain asocial in relation to their cultural milieu and cultural context. Some other examples of Outsider Art, both in South Africa as well as in Europe and India, were visited, and are described and compared with The Owl House as well as with one another. The way in which society reacts or responds to Outsider Art and its creators is studied through the comprehensive records of one specific case which caused great controversy in Johannesburg during the 1970s. Ultimately, working alone or with assistance, it is the Outsider artist who is the driving force behind these unique works, and whose indefinable inner fire of passion alone makes it possible to bring them into being. It would seem that the fascination with Outsider Art is that through their work, creators allow others a glimpse into a different sense of reality which is both mysterious and inexplicable.

Art History, Visual Arts & Music / D. Litt. et. Phil. (Art History)

Art History, Visual Arts and Music / D. Litt. et. Phil. (Art History)