Changes in pictorial construction and types of representation which formed the basis of modern art
- Authors: Collins, Anne Marie
- Date: 1986
- Subjects: Picasso, Pablo, 1881-1973 Art, French -- 19th century Art, French -- 20th century
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2475 , http://hdl.handle.net/10962/d1010579
- Description: The erosion of traditional French academic methods of picture-construction, and the eclipse of hierarchical subject-matter, ensured the emergence of a diversity of new painting styles in France by 1900 and the possibility of even more drastic departures from tradition in the 20th century, particularly in the work of Picasso, from 1900 to 1914.
- Full Text:
- Date Issued: 1986
- Authors: Collins, Anne Marie
- Date: 1986
- Subjects: Picasso, Pablo, 1881-1973 Art, French -- 19th century Art, French -- 20th century
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2475 , http://hdl.handle.net/10962/d1010579
- Description: The erosion of traditional French academic methods of picture-construction, and the eclipse of hierarchical subject-matter, ensured the emergence of a diversity of new painting styles in France by 1900 and the possibility of even more drastic departures from tradition in the 20th century, particularly in the work of Picasso, from 1900 to 1914.
- Full Text:
- Date Issued: 1986
Techniques in contemporary book illustration
- Authors: Huggins, Linda Wreford
- Date: 1986
- Subjects: Illustration of books -- History -- 20th century
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2462 , http://hdl.handle.net/10962/d1008567
- Description: Introduction: Although the hackneyed adage "one picture is worth a thousand words" defies proof and begs argument, the basic value of illustration in graphic communications is beyond dispute. Without attempting to put a relative value on illustration as compared with words, we can still be aware of the special effectiveness of images, in accomplishing communication goals. The roots of illustration go hack to prehistoric pictorial art of engraved or painted figures done on stone. The hand print can be interpreted as one of the first attempts at drawing. Prehistoric pictorial art depicted visually what could not be expressed by word or gestures some had religious significance, some the presence of myth, others plainly diadactic, showing daily life, social communication, the magic of the hunt, death, birth, group life and sexual symbolism. Little is known of the vast lapse of time between prehistoric art and the imagery that man devised in the service of developing civilisations at the dawn of history. With steadily increasing demands upon his skills, the artisan's mastery of the tools and materials progressed, so that by the beginning of recorded time he was in possession of the potential elements for printmaking. Yet the importance of communication, as we know it today, only developed centuries later with the motivating force of religion. The print could tell its story to those who could not read or write but could quickly grasp the meaning of a picture.
- Full Text:
- Date Issued: 1986
- Authors: Huggins, Linda Wreford
- Date: 1986
- Subjects: Illustration of books -- History -- 20th century
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2462 , http://hdl.handle.net/10962/d1008567
- Description: Introduction: Although the hackneyed adage "one picture is worth a thousand words" defies proof and begs argument, the basic value of illustration in graphic communications is beyond dispute. Without attempting to put a relative value on illustration as compared with words, we can still be aware of the special effectiveness of images, in accomplishing communication goals. The roots of illustration go hack to prehistoric pictorial art of engraved or painted figures done on stone. The hand print can be interpreted as one of the first attempts at drawing. Prehistoric pictorial art depicted visually what could not be expressed by word or gestures some had religious significance, some the presence of myth, others plainly diadactic, showing daily life, social communication, the magic of the hunt, death, birth, group life and sexual symbolism. Little is known of the vast lapse of time between prehistoric art and the imagery that man devised in the service of developing civilisations at the dawn of history. With steadily increasing demands upon his skills, the artisan's mastery of the tools and materials progressed, so that by the beginning of recorded time he was in possession of the potential elements for printmaking. Yet the importance of communication, as we know it today, only developed centuries later with the motivating force of religion. The print could tell its story to those who could not read or write but could quickly grasp the meaning of a picture.
- Full Text:
- Date Issued: 1986
Tempera painting: an investigation of the aesthetic and technical advantages of the medium
- Authors: De Bliquy, Leon Paul
- Date: 1986
- Subjects: Painting -- Technique Tempura painting
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2469 , http://hdl.handle.net/10962/d1009443
- Description: From Introduction: The balance between practical and theoretic components in the total submission bears relation to the title of this essay where aesthetic advantages are largely theoretical and where technical advantages refer mainly to the practical component. The historical significance of this structure is to be found in the earliest treatises on painting, Cenninni's treatment of painting as a purely practical matter is in accord with medieval tradition. His recipes are aligned according to the various individual techniques, tempera painting being the most significant to this essay. Practical recipes are interspersed with directions for the representation of various pictorial themes, and in the resultant conglomeration, the subdivisions are discernible only as basic premises. In contrast to him, the Renaissance authors beginning with Alberti make a significant innovation in that they divide their material into a theoretical and a practical part . The inter-relationship of practical and theoretical - aesthetic and technical aspects are un-avoidable when it comes down to realities. This is clearly illustrated in the notes of Leonardo da Vinci. Plans for the organization of the treatise are vaguely formulated .
- Full Text:
- Date Issued: 1986
- Authors: De Bliquy, Leon Paul
- Date: 1986
- Subjects: Painting -- Technique Tempura painting
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2469 , http://hdl.handle.net/10962/d1009443
- Description: From Introduction: The balance between practical and theoretic components in the total submission bears relation to the title of this essay where aesthetic advantages are largely theoretical and where technical advantages refer mainly to the practical component. The historical significance of this structure is to be found in the earliest treatises on painting, Cenninni's treatment of painting as a purely practical matter is in accord with medieval tradition. His recipes are aligned according to the various individual techniques, tempera painting being the most significant to this essay. Practical recipes are interspersed with directions for the representation of various pictorial themes, and in the resultant conglomeration, the subdivisions are discernible only as basic premises. In contrast to him, the Renaissance authors beginning with Alberti make a significant innovation in that they divide their material into a theoretical and a practical part . The inter-relationship of practical and theoretical - aesthetic and technical aspects are un-avoidable when it comes down to realities. This is clearly illustrated in the notes of Leonardo da Vinci. Plans for the organization of the treatise are vaguely formulated .
- Full Text:
- Date Issued: 1986
The life and work of Robert Paul
- Johnson, Christopher Charles Bonsall
- Authors: Johnson, Christopher Charles Bonsall
- Date: 1986
- Subjects: Paul, Robert, 1906-1980 , Artists -- Zimbabwe
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2510 , http://hdl.handle.net/10962/d1018631
- Description: [From Introduction] When Robert Paul died in 1980, his daughter Colette Wiles gave her father's art materials to an artist who was very close to both Robert and his wife in their last years - Dian Wright. The materials consisted of five different pigments and brushes cut into different shapes to suit the artist. This is remarkable when one considers his proficiency in a variety of media and his accurate portrayal in the far reaching studies he executed of the Zimbabwean landscape. Yet, it is characteristic of his resourcefulness that Paul could make 'something out of nothing'. Paul welcomed the opportunity of new landscape when he arrived in Rhodesia in 1927. Against the backdrop of a chosen isolation from the British Isles, Paul developed his own personal tracks in spite of any early influence through John Piper with the English Southern Landscape idioms of the 1920s. This was a fruitful isolation where the creation of his art retained influences but were manipulated according to his needs and unleashed with a proficiency sometimes equal to his peers, who later found fame under the term 'Neo-Romantics'. Paul remained an individual in Africa. My intention in this essay is three-fold; first, to illustrate the effects and influences of 'chosen' and 'enforced ' isolation on his work. Secondly, I wish to determine the extent of the influence that Piper and the Neo-Romantics had on Paul and to illustrate mostly with anecdotes his life and life-style. He was no mean character. His life-long obsessions with art, alcohol and women were played out with a flair and dry humour which few emulated in his era. Although a strictly academic approach can be applied to the assessment of his work, his life followed thoroughly unorthodox lines. As Bradshaw noted when he wrote the forward to the Catalogue of Paul's Retrospective in 1976, he (Paul) had no historical interests in the accepted sense of the word. , ABBYY FineReader 12
- Full Text:
- Date Issued: 1986
- Authors: Johnson, Christopher Charles Bonsall
- Date: 1986
- Subjects: Paul, Robert, 1906-1980 , Artists -- Zimbabwe
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2510 , http://hdl.handle.net/10962/d1018631
- Description: [From Introduction] When Robert Paul died in 1980, his daughter Colette Wiles gave her father's art materials to an artist who was very close to both Robert and his wife in their last years - Dian Wright. The materials consisted of five different pigments and brushes cut into different shapes to suit the artist. This is remarkable when one considers his proficiency in a variety of media and his accurate portrayal in the far reaching studies he executed of the Zimbabwean landscape. Yet, it is characteristic of his resourcefulness that Paul could make 'something out of nothing'. Paul welcomed the opportunity of new landscape when he arrived in Rhodesia in 1927. Against the backdrop of a chosen isolation from the British Isles, Paul developed his own personal tracks in spite of any early influence through John Piper with the English Southern Landscape idioms of the 1920s. This was a fruitful isolation where the creation of his art retained influences but were manipulated according to his needs and unleashed with a proficiency sometimes equal to his peers, who later found fame under the term 'Neo-Romantics'. Paul remained an individual in Africa. My intention in this essay is three-fold; first, to illustrate the effects and influences of 'chosen' and 'enforced ' isolation on his work. Secondly, I wish to determine the extent of the influence that Piper and the Neo-Romantics had on Paul and to illustrate mostly with anecdotes his life and life-style. He was no mean character. His life-long obsessions with art, alcohol and women were played out with a flair and dry humour which few emulated in his era. Although a strictly academic approach can be applied to the assessment of his work, his life followed thoroughly unorthodox lines. As Bradshaw noted when he wrote the forward to the Catalogue of Paul's Retrospective in 1976, he (Paul) had no historical interests in the accepted sense of the word. , ABBYY FineReader 12
- Full Text:
- Date Issued: 1986
The machine and painting: an investigation into the interrelationship(s) between technology and painting since 1945
- Authors: Hennig, Sybille
- Date: 1986
- Subjects: Art and technology Art, Modern -- 20th century -- History
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2468 , http://hdl.handle.net/10962/d1009435
- Description: Introduction: We, i.e. contemporary Western man, live in a society which has increasingly embraced Science and Technology as the ultimum bonum. The Machine, i.e. Science and Technology, has come to be seen as an impersonal force, a New God - omniscient, omnipotent: to be worshipped and, alas, also to be feared. This mythologem has come to pervade almost every sphere of our lives in a paradigmatic way to the extent where it is hardly ever recognized for what it is and hence fails to arouse the concern it merits. While some of the more perceptive minds - such as Erich Fromm, Rufino Tamayo, Carl Gustav Jung, Konrad Lorenz and Arthur Koestler, to mention but a few - have started ringing the alarm bells, the vast majority of our species seem to plunge ahead with their blinkers firmly in place (more or less contented as long as they can persude themselves that these blinkers were manufactured according to latest technological and scientific specifications). Man’s uniquely human powers - his creative intuition, his feelings, his moral and ethical potential, have become sadly neglected and mistrusted. Homo sapiens – “homo maniacus” as Koestler suggests? - is now at a crossroads: he has reached a point where the next step could be the last step and result in the annihilation of man as a species. Alternately, avoiding that, there is the outwardly less drastic but essentially equally alarming possibility of men becoming robots, while a third alternative has yet to be found. While it does appear as if a lot of young people, noticeably among students, have started reacting against the over mechanization of life, these reactions often tend to follow the swing-of-the-pendulum principle and veer towards the other extreme, throwing out the baby with the bathwater and falling prey to freak-out cults in a kind of mass-irrationalism, rejecting science and technology altogether. Artists who by their very nature perhaps are particularly sensitive - in a kind of seismographic way - to the currents and undercurrents of their age, have become aware of the effects of science and technology on our way of living, and many of them have in one way or another taken a stand in relation to the position of man in our highly technological world. Looking at the art produced over the last four decades, it is truly astonishing to what extent our changed world reflects in our art - a world and a Weltbild very different from that of our ancestors even just a few generations ago. The purpose of the present study is to survey some of the observations and commentaries that painters and certain kindred spirits from the sciences over the last few decades have offered, in the hope of, if not answering, at least defining and posing anew some of the questions that confront us with ever-increasing urgency.
- Full Text:
- Date Issued: 1986
- Authors: Hennig, Sybille
- Date: 1986
- Subjects: Art and technology Art, Modern -- 20th century -- History
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2468 , http://hdl.handle.net/10962/d1009435
- Description: Introduction: We, i.e. contemporary Western man, live in a society which has increasingly embraced Science and Technology as the ultimum bonum. The Machine, i.e. Science and Technology, has come to be seen as an impersonal force, a New God - omniscient, omnipotent: to be worshipped and, alas, also to be feared. This mythologem has come to pervade almost every sphere of our lives in a paradigmatic way to the extent where it is hardly ever recognized for what it is and hence fails to arouse the concern it merits. While some of the more perceptive minds - such as Erich Fromm, Rufino Tamayo, Carl Gustav Jung, Konrad Lorenz and Arthur Koestler, to mention but a few - have started ringing the alarm bells, the vast majority of our species seem to plunge ahead with their blinkers firmly in place (more or less contented as long as they can persude themselves that these blinkers were manufactured according to latest technological and scientific specifications). Man’s uniquely human powers - his creative intuition, his feelings, his moral and ethical potential, have become sadly neglected and mistrusted. Homo sapiens – “homo maniacus” as Koestler suggests? - is now at a crossroads: he has reached a point where the next step could be the last step and result in the annihilation of man as a species. Alternately, avoiding that, there is the outwardly less drastic but essentially equally alarming possibility of men becoming robots, while a third alternative has yet to be found. While it does appear as if a lot of young people, noticeably among students, have started reacting against the over mechanization of life, these reactions often tend to follow the swing-of-the-pendulum principle and veer towards the other extreme, throwing out the baby with the bathwater and falling prey to freak-out cults in a kind of mass-irrationalism, rejecting science and technology altogether. Artists who by their very nature perhaps are particularly sensitive - in a kind of seismographic way - to the currents and undercurrents of their age, have become aware of the effects of science and technology on our way of living, and many of them have in one way or another taken a stand in relation to the position of man in our highly technological world. Looking at the art produced over the last four decades, it is truly astonishing to what extent our changed world reflects in our art - a world and a Weltbild very different from that of our ancestors even just a few generations ago. The purpose of the present study is to survey some of the observations and commentaries that painters and certain kindred spirits from the sciences over the last few decades have offered, in the hope of, if not answering, at least defining and posing anew some of the questions that confront us with ever-increasing urgency.
- Full Text:
- Date Issued: 1986
The manipulated photographic images of Man Ray and Moholy-Nagy: "a deconstructural approach"
- Authors: Fry, Roger Bruce
- Date: 1986
- Subjects: Man Ray, 1890-1976 Moholy-Nagy, László, 1895-1946 Photography, Artistic
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2470 , http://hdl.handle.net/10962/d1009447
- Description: From introduction: In the following essay an emphasis has been placed on manipulated photographic images. Although this implies a whole variety of ways in which these images can be manipulated e.g. in collage, silkscreen etc., the emphasis here is on images that have a fabricated or deliberate manipulation of subject matter to make up the photograph.
- Full Text:
- Date Issued: 1986
- Authors: Fry, Roger Bruce
- Date: 1986
- Subjects: Man Ray, 1890-1976 Moholy-Nagy, László, 1895-1946 Photography, Artistic
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2470 , http://hdl.handle.net/10962/d1009447
- Description: From introduction: In the following essay an emphasis has been placed on manipulated photographic images. Although this implies a whole variety of ways in which these images can be manipulated e.g. in collage, silkscreen etc., the emphasis here is on images that have a fabricated or deliberate manipulation of subject matter to make up the photograph.
- Full Text:
- Date Issued: 1986
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