Aspects of brutality : anxious concepts in sculpture since 1950
- Authors: Lang, Graham Charles
- Date: 1987
- Subjects: Sculpture, Modern -- 20th century Violence in art
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2484 , http://hdl.handle.net/10962/d1012724
- Description: It would be wrong to suggest that this essay is in any way a comprehensive study of brutal sculpture. Certainly not. There have been many deliberate omissions for reasons which become clear in the text. Very briefly, omissions of certain sculptors and their work are largely due to my wish to avoid repetitive ideas and images. My view in this essay is to provide a cross-section of ideas and works, whereby the reader might gain some insight into the varied nature of this kind of sculpture. Thus, there seemed very little need for endless similarities of concept and expression. It was the diversity which I felt was important. The chapter which discusses concepts of beauty is also not a comprehensive study. This subject demands more than a humble essay to do it any justice. However, my reasons for touching the vague and controversial outline of these concepts were, primarily, to suggest that notions of beauty as the sole criterion in the judgement of art are too limiting, and, consequently, to introduce the concept of vitalism, which I believe is more valid. Finally, I wish to mention the personal motive behind this work. Over the years, I have witnessed the emergence of brutal elements in my own work, which I found disturbing at times. I have never been able to answer satisfactorily the criticism I've received. All I knew was that these things came from a very deep source. It is with this in mind that I embarked on this project, hoping to achieve two things. Firstly, to provide an objective survey of an important development in art, and, secondly , to answer some of my criticism. Foreword, p. 1.
- Full Text:
- Date Issued: 1987
- Authors: Lang, Graham Charles
- Date: 1987
- Subjects: Sculpture, Modern -- 20th century Violence in art
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2484 , http://hdl.handle.net/10962/d1012724
- Description: It would be wrong to suggest that this essay is in any way a comprehensive study of brutal sculpture. Certainly not. There have been many deliberate omissions for reasons which become clear in the text. Very briefly, omissions of certain sculptors and their work are largely due to my wish to avoid repetitive ideas and images. My view in this essay is to provide a cross-section of ideas and works, whereby the reader might gain some insight into the varied nature of this kind of sculpture. Thus, there seemed very little need for endless similarities of concept and expression. It was the diversity which I felt was important. The chapter which discusses concepts of beauty is also not a comprehensive study. This subject demands more than a humble essay to do it any justice. However, my reasons for touching the vague and controversial outline of these concepts were, primarily, to suggest that notions of beauty as the sole criterion in the judgement of art are too limiting, and, consequently, to introduce the concept of vitalism, which I believe is more valid. Finally, I wish to mention the personal motive behind this work. Over the years, I have witnessed the emergence of brutal elements in my own work, which I found disturbing at times. I have never been able to answer satisfactorily the criticism I've received. All I knew was that these things came from a very deep source. It is with this in mind that I embarked on this project, hoping to achieve two things. Firstly, to provide an objective survey of an important development in art, and, secondly , to answer some of my criticism. Foreword, p. 1.
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- Date Issued: 1987
Current practice in the field of architectural and autonomous stained glass in Europe and the United States of America
- Authors: Nesbit, G H H
- Date: 1987
- Subjects: Glass painting and staining -- Europe , Glass painting and staining -- United States
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2488 , http://hdl.handle.net/10962/d1012955
- Description: This prodrome sought to define through research, the material. composition, historic foundations, significance and technical development of glass as a window-glazing material for ecclesiastical, and later secular purposes, and examining thus its determining role in the development of architecture. The history and techniques of stained glass, an art-form linked more than any other to the mythology and dogma of the Roman Catholic Church, were traced; its history is thus one with that of the church, rising to its greatest glory during the twelfth and thirteenth centuries, and declining from the late fifteenth to the seventeenth centuries. The iconography of the church was examined, and the development of window and tracery types discussed through reference to pertinent examples on both sides of the English Channel. Subjects, stylistic and technical factors, sources of reference, ecclesiastical influences, were all within the context of social and political history . viewed. Intro., p. 1-2.
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- Date Issued: 1987
- Authors: Nesbit, G H H
- Date: 1987
- Subjects: Glass painting and staining -- Europe , Glass painting and staining -- United States
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2488 , http://hdl.handle.net/10962/d1012955
- Description: This prodrome sought to define through research, the material. composition, historic foundations, significance and technical development of glass as a window-glazing material for ecclesiastical, and later secular purposes, and examining thus its determining role in the development of architecture. The history and techniques of stained glass, an art-form linked more than any other to the mythology and dogma of the Roman Catholic Church, were traced; its history is thus one with that of the church, rising to its greatest glory during the twelfth and thirteenth centuries, and declining from the late fifteenth to the seventeenth centuries. The iconography of the church was examined, and the development of window and tracery types discussed through reference to pertinent examples on both sides of the English Channel. Subjects, stylistic and technical factors, sources of reference, ecclesiastical influences, were all within the context of social and political history . viewed. Intro., p. 1-2.
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- Date Issued: 1987
The Hasidic spirit as the foundation of the art of Marc Chagall
- Authors: Bagraim, Abigail Sarah
- Date: 1987
- Subjects: Chagall, Marc, 1887-1985 Criticism and interpretation
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2393 , http://hdl.handle.net/10962/d1002189
- Description: In considering Chagall's art the observer is immediately struck by the constancy of his almost obsessive repetition of certain symbols and themes. In this way Chagall has created his own fantasy world, one with which the observer soon becomes acquainted and grows to love and understand.
- Full Text:
- Date Issued: 1987
- Authors: Bagraim, Abigail Sarah
- Date: 1987
- Subjects: Chagall, Marc, 1887-1985 Criticism and interpretation
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2393 , http://hdl.handle.net/10962/d1002189
- Description: In considering Chagall's art the observer is immediately struck by the constancy of his almost obsessive repetition of certain symbols and themes. In this way Chagall has created his own fantasy world, one with which the observer soon becomes acquainted and grows to love and understand.
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- Date Issued: 1987
Traditional and Christian elements in contemporary pictorial African art in South Africa with special reference to the works of John Muafangejo, Azariah Mbatha and Dan Rakgoathe
- Authors: Kilian, Julie
- Date: 1987
- Subjects: Muafangejo, John N., 1943-1987 -- Criticism and interpretation Christian art and symbolism -- South Africa Mbatha, Azariah -- Criticism and interpretation Rakgoathe, Dan -- Criticism and interpretation Art, Black -- South Africa
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2483 , http://hdl.handle.net/10962/d1012635
- Description: Art is the outward, visual manifestation of the undying soul of a people. The genius displayed in the day to day articles produced in traditional tribal society is equally present in the art produced by the Contemporary African Artist. The Contemporary African Artist finds himself in an interesting position, in that he is, at one time, a part of two different worlds, two different cultures, has taken place, the and his art provides evidence of the acculturation that coming together of indigenous, traditional African culture and 'European' or 'Western' culture. It follows that the contemporary African artist's work would display characteristics and elements derived from both of these worlds, since art is not created in a vacuum, but is, invariably, the outward, visible expression and symbol of an artist's environment, culture, emotional and intellectual responses and his beliefs. The study of Contemporary African Art reveals that despite the many divergences from the traditional or classic forms, a great many traditional influences and characteristics still persist in the same. An analysis of Contemporary African Art will also show that a significant body of works bear a marked influence of Christian teachings and biblical themes, as well as the influence of exposure to various forms of Swedish Medieval, Byzantine, Romanesque and Carolingian art.
- Full Text:
- Date Issued: 1987
- Authors: Kilian, Julie
- Date: 1987
- Subjects: Muafangejo, John N., 1943-1987 -- Criticism and interpretation Christian art and symbolism -- South Africa Mbatha, Azariah -- Criticism and interpretation Rakgoathe, Dan -- Criticism and interpretation Art, Black -- South Africa
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2483 , http://hdl.handle.net/10962/d1012635
- Description: Art is the outward, visual manifestation of the undying soul of a people. The genius displayed in the day to day articles produced in traditional tribal society is equally present in the art produced by the Contemporary African Artist. The Contemporary African Artist finds himself in an interesting position, in that he is, at one time, a part of two different worlds, two different cultures, has taken place, the and his art provides evidence of the acculturation that coming together of indigenous, traditional African culture and 'European' or 'Western' culture. It follows that the contemporary African artist's work would display characteristics and elements derived from both of these worlds, since art is not created in a vacuum, but is, invariably, the outward, visible expression and symbol of an artist's environment, culture, emotional and intellectual responses and his beliefs. The study of Contemporary African Art reveals that despite the many divergences from the traditional or classic forms, a great many traditional influences and characteristics still persist in the same. An analysis of Contemporary African Art will also show that a significant body of works bear a marked influence of Christian teachings and biblical themes, as well as the influence of exposure to various forms of Swedish Medieval, Byzantine, Romanesque and Carolingian art.
- Full Text:
- Date Issued: 1987
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