Diss.--Lund, 1997. / Bibliogr. p. 362-378. Index.

Diss.--Köln, 2002. / Bibliogr. p. 297-313.

This study develops an approach to developing surface shading for computer-generated 3D head models that adapts aesthetics from the post-impressionist portrait painting style of Vincent Van Gogh. This research is an attempt to reconcile a 2D expressionist style of painting and 3D digital computer generated imagery. The focus of this research is on developing a surface shading methodology for creating 3D impasto painterly renderings informed by Van Gogh’s self-portrait paintings. Visual analysis of several of Van Gogh’s self-portraits reveal the characteristics of his overall rendering style that are essential in designing methods for shading and texturing 3D head models. A method for shading is proposed using existing surfacing and rendering tools to create 3D digital heads rendered in Van Gogh’s style. The designed shading methodology describes procedures that generate brushstroke patterns. User controls for brushstroke profile, size, color and direction are provided to allow variations in the brushstroke patterns. These patterns are used to define thick oil paint surface properties for 3D digital models. A discussion of the range of results achieved using the designed shading methodology reveal the variations in the rendering style that can be achieved, which reflects a wide range of expressive 3D portrait rendering styles. Therefore, this study is useful in understanding Van Gogh’s expressive portrait painting style and in applying the essence of his work to synthesized 3D portraits.

Th.--Médecine--Strasbourg, 1935. / Thèse de médecine. Strasbourg. Doctorat d'Université. 1935. No 68.

Academisch proefschrift--Universiteit van Amsterdam, 1994.

Th.--Psychanal.--Paris 7, 1988.

Diss.--Fachbereich 15-Philologie III--Mainz--Johannes Gutenberg-Universität, 1986. / Bibliogr. p. 531-599.

Resumé Presented thesis is dedicated to specific problems of van Gogh's art. In the first chapters I investigate Heidegger's philosophy of art and his philosophical interpretation of van Gogh's painting Old shoes. Second chapter is dedicated to the critical reaction of distinguished art-historian Meyer Schapiro. Schapiro wrote two short texts, where he attacked Heidegger's way of interpretation of the painting. But Schapiro did not take into account Heidegger's philosophical arguments and completely misunderstood Heidegger's essay. Third chapter is dedicated to the "conclusion" of the conflict of interpretations. In late seventies French philosopher Jacques Derrida published an article (Restitutions), which deals with previous contributions. Derrida seriously attempted to investigate philosophical principals of Heidegger and Schapiro and he suggested, that both authors have the same tendency to appropriate the shoes to some person, in Heidegger's case to peasant woman in that of Schapiro to van Gogh. Derrida tried to leave the "theory of appropriation" by saying that the shoes belong to the painting. I also added two appendices dedicated to specific problems of van Gogh's painting. In first appendix I investigated the role of synthesis of painting and drawing in van Gogh. In second appendix I trace the...

Dissertação--Psicologia--Universidade de São Paulo, 2000.

Diss. : Philosophische Fakultät : München : 1983. - Bibliogr. p. 275-283. -