No description available.

No description available.

No description available.

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No description available.

Chine colle has evolved from a simple process used to reinforce the oriental printmaking papers used by the 19th century French artists to a means of expanding the aesthetic range of printmaking, particularly in combination with more traditional or widely known techniques. In the author's Creative Project, chine colle was used to achieve variations in texture, color, dimension, and overall aesthetic effect, as well as adding representational content to each piece.There were a number of technical problems which needed to be overcome in the execution of these pieces. These included problems relating to paper weight, adhesion, and color fastness. In addition, there are other suitability considerations which the printmaker must address in using chine colle. These include: texture, acceptance of ink, durability and price. The artist who successfully deals with these technical considerations will be able to use chine colle to its fullest advantage. This means having access to a wide range of colors, textures, and dimensions Possible through chine colle. It also enables the artist to exert greater control over these elements than can be achieved through other techniques.The historical, technical, and aesthetic evolution of the chine colle' process has brought it to a point where it can be an important part of the printmaker's repertoire. It is the author's hope that this potential will be fully realized in the years ahead. / Department of Art

This creative project consists of an Introduction and one chapter from an untitled novel in progress.The Introduction includes a brief history of the artistic evolution of the novel and a discussion of problems which the novel imposes on the writer.The subject of the novel is the Donatelli family, an Italian immigrant family who lived in an eastern Pennsylvania city during the depression. Two essential conflicts are dramatized: that with the new culture and that between the differing values and goals of the first and second generations as represented by Luigi and his children, especially Vince, his younger son.

This creative project consisted of four figurative paintings and a paper centered on whether the artist could incorporate convincingly the oil techniques of the past with contemporary content. Several popular techniques used by old masters were researched, documented and adopted for use in the paintings of this project. Techniques discussed included early Flemish egg tempera with oil introduced by the Van Eycks, methods of Durer, the Venetian style of Titian, Veronese, Caravaggio, and the methods of the Dutch and Flemish Baroque, Rubens, Hals, Rembrandt, and Vermeer.In addition, the techniques and intentions of three contemporary figurative painters, Jack Beal, William Beckman, and James Valerio were discussed.

Diss. : Geschichtswissenschaften : Berlin, [BRD] : 1980-81. - Bibliogr. p. 236-253. Index. -

Inaug.-Diss.: Rechts- und staatswissenschaftliche Fakultät: Zürich: 1975. _ Bibliogr. p. 124-130.