Thesis (M.F.A.)--Rochester Institute of Technology, 1991. / Typescript. Includes bibliographical references (leaf 18).

No description available.

Thesis (M.A.)--Ohio State University, 1974. / Includes bibliographical references. Available online via OhioLINK's ETD Center

Akademisk avhandling--Gothenburg. / Thesis statement on added t.p. "Bibliografi": p. 312-[315].

Thesis (M.F.A.)--Rochester Institute of Technology, 1988. / Includes bibliographical references (leaf 48).

Thesis (MFA)--Rochester Institute of Technology, 1988. / Includes bibliographical references.

Thesis (M.F.A.)--West Virginia University, 2010. / Title from document title page. Document formatted into pages; contains iii, 42 p. : col. ill. Vita. Includes abstract. Includes bibliographical references (p. 23).

A dissertation submitted to the Faculty of Arts, University of the Witwatersrand, Johannesburg, in partial fulfilment of the requirements for the degree of Master of Arts in fine Arts Johannesburg 1992 / This research examines some ways in which source material is interpreted in still life painting. These interpretations will be explored from two positions in painting. For my purposes, these positions will be termed opticality and tactility. [Abbreviated Abstract. Open document to view full version][ / MT2017

Contrary to the common definition of still life painting as a grouping of inanimate objects, I want my still life paintings to be full of life. I have always been intrigued by the numerous approaches and different mediums used by artists for still life arrangements. I want the objects I paint to appear three dimensional. I strive to effectively create the illusion of actual senses: smell, taste, and touch. To accomplish this, I carefully arrange objects in my composition so color, line, and form work to enhance a rhythmic flow. Contrasting warm and cool colors help add to this flow. My brush strokes turn with the curve of the objects to help create the illusion of depth and motion. This is what I call the Un-Still Life!

This work focuses on the cross-section between classic still-life art and complex personal issues. It uses traditional and nontraditional still life photography to tell individual vignettes about my life. I explore unresolved issues, which offer subtle suggestion of an experiential narrative. All of the backgrounds and objects included are intentional and represent specific places, people, and events. I allow the viewer to bring their own experiences to the photographs, by not giving them specifics of my stories. I used this work as a way for me to move past these experiences and my hope is that they might also help others. I have created beauty from my dwelling.