The quality of threat in modern painting
- Authors: Radford, Anne Margaret
- Date: 1979
- Subjects: Painting, Modern -- 20th century
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2453 , http://hdl.handle.net/10962/d1007578
- Description: From Introduction: We not only tolerate violence, we put it on the front pages of our newspapers. One-third or one-fourth of our television programmes use it for the amusement of our children. Condone! My dear friends, we love it." -Karl Menninger, psychiatrist. War is one of the most violent of man's past-times, yet many of the atrocities committed are termed heroic deeds. Andre Malraux, one of the leading writer-philosophers of his day, praised the international involvement by so many writers, artists, etc. in the Spanish Civil War as one of the most wonderful deeds of brotherhood in the history of mankind. There is a strange idolatry that is often accorded to violent criminals such as the early American outlaws, and people like Charles Manson, around whom an entire cult has sprung up. The "aggressive machismo" is something that boys and young men strive to achieve in most countries in the Western world. Scientlsts and philosophers have puzzled these paradoxes for centuries, and this effort to unravel the mystery of violence and aggression bears a fateful significant. For the quality of human life and the survival of man are involved. Robbery, rape, riots, vandalism, are all now part of man's existence. Around the world, violence has soared. In London, violent crimes increased by 39 per cent in three years. Even sports events (the soccer fans stage gang wars at most soccer matches nowadays, especially in England,) and entertainment ---books, movies, television--- have become permeated with violence. It has not always been as bad as this, and as art imitates life, life imitates art, and so aggressive paintings, threatening paintings are now commonplace. In this dissertation, I have studied this development of threat in painting. What follows is the course my study has taken.
- Full Text:
- Date Issued: 1979
- Authors: Radford, Anne Margaret
- Date: 1979
- Subjects: Painting, Modern -- 20th century
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2453 , http://hdl.handle.net/10962/d1007578
- Description: From Introduction: We not only tolerate violence, we put it on the front pages of our newspapers. One-third or one-fourth of our television programmes use it for the amusement of our children. Condone! My dear friends, we love it." -Karl Menninger, psychiatrist. War is one of the most violent of man's past-times, yet many of the atrocities committed are termed heroic deeds. Andre Malraux, one of the leading writer-philosophers of his day, praised the international involvement by so many writers, artists, etc. in the Spanish Civil War as one of the most wonderful deeds of brotherhood in the history of mankind. There is a strange idolatry that is often accorded to violent criminals such as the early American outlaws, and people like Charles Manson, around whom an entire cult has sprung up. The "aggressive machismo" is something that boys and young men strive to achieve in most countries in the Western world. Scientlsts and philosophers have puzzled these paradoxes for centuries, and this effort to unravel the mystery of violence and aggression bears a fateful significant. For the quality of human life and the survival of man are involved. Robbery, rape, riots, vandalism, are all now part of man's existence. Around the world, violence has soared. In London, violent crimes increased by 39 per cent in three years. Even sports events (the soccer fans stage gang wars at most soccer matches nowadays, especially in England,) and entertainment ---books, movies, television--- have become permeated with violence. It has not always been as bad as this, and as art imitates life, life imitates art, and so aggressive paintings, threatening paintings are now commonplace. In this dissertation, I have studied this development of threat in painting. What follows is the course my study has taken.
- Full Text:
- Date Issued: 1979
The working method of the modern painter
- Authors: Grant, David
- Date: 1977
- Subjects: Painting, Modern -- 20th century , Painting -- Technique
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2503 , http://hdl.handle.net/10962/d1014984
- Description: [From Introduction]. Prior to 1800 advances made in painting could often be accredited to the advances made in paint technology. Since the beginning of the last century however, paint technology has stabilised, moved into the background and allowed the artist to create with the medium rather than be dictated to by it. This stabilising of art technology has also generated a lack of interest in technique, leading in turn to a number of painting techniques being lost. In some ways we know less today of the oil medium and its correct use than was known to Jan and Hubert Van Eyck and their followers. However, if this lack of concern with technique has produced a large number of valid artistic statements which are unlikely to survive physically, it also means that the hoardes of painters who painted technically perfect paintings with no valid art statement have dwindled as well.
- Full Text:
- Date Issued: 1977
- Authors: Grant, David
- Date: 1977
- Subjects: Painting, Modern -- 20th century , Painting -- Technique
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2503 , http://hdl.handle.net/10962/d1014984
- Description: [From Introduction]. Prior to 1800 advances made in painting could often be accredited to the advances made in paint technology. Since the beginning of the last century however, paint technology has stabilised, moved into the background and allowed the artist to create with the medium rather than be dictated to by it. This stabilising of art technology has also generated a lack of interest in technique, leading in turn to a number of painting techniques being lost. In some ways we know less today of the oil medium and its correct use than was known to Jan and Hubert Van Eyck and their followers. However, if this lack of concern with technique has produced a large number of valid artistic statements which are unlikely to survive physically, it also means that the hoardes of painters who painted technically perfect paintings with no valid art statement have dwindled as well.
- Full Text:
- Date Issued: 1977
Certain aspects of eroticism in twentieth century western painting
- Authors: Marais, Estelle
- Date: 1973
- Subjects: Erotic art , Painting, Modern -- 20th century
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2486 , http://hdl.handle.net/10962/d1012833
- Description: In this essay eroticism will be examined as it appears in some twentieth century representational styles. The decision to concentrate on the representational styles is based on the fact that eroticism is by nature incompatible with the non-representational or non-objective movements in art. This incompatibility is rooted in the knowledge that eroticism is intrinsically and fundamentally a human experience and could therefore find expression only in an art which is concerned with human experience, i.e. experiences which refer to man, his nature and his relation to Nature. It would be oversimplified and grossly inaccurate to equate the nonrepresentational with the abstract, abstraction being an element present in all art to a greater or lesser degree. However, when abstraction has reached the stage where it can define its aims, as, in the words of Kandinsky, "widening the separation between the domain of art and the domain of Nature", (Lake & Maillard: A Dictionary of Modern Painting, p. 1) then it may also approach the realm of the non-representational. When Michel Seupher states, "I call abstract art all art that does not recall or evoke reality", (Lake & Maillard: A Dictionary of Modern Painting, p. 136) abstract and nonrepresentational art becomes fused into an inseparable unity. Erotic expression will then be incompatible with this degree of abstraction. Intro., p. 1.
- Full Text:
- Date Issued: 1973
- Authors: Marais, Estelle
- Date: 1973
- Subjects: Erotic art , Painting, Modern -- 20th century
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2486 , http://hdl.handle.net/10962/d1012833
- Description: In this essay eroticism will be examined as it appears in some twentieth century representational styles. The decision to concentrate on the representational styles is based on the fact that eroticism is by nature incompatible with the non-representational or non-objective movements in art. This incompatibility is rooted in the knowledge that eroticism is intrinsically and fundamentally a human experience and could therefore find expression only in an art which is concerned with human experience, i.e. experiences which refer to man, his nature and his relation to Nature. It would be oversimplified and grossly inaccurate to equate the nonrepresentational with the abstract, abstraction being an element present in all art to a greater or lesser degree. However, when abstraction has reached the stage where it can define its aims, as, in the words of Kandinsky, "widening the separation between the domain of art and the domain of Nature", (Lake & Maillard: A Dictionary of Modern Painting, p. 1) then it may also approach the realm of the non-representational. When Michel Seupher states, "I call abstract art all art that does not recall or evoke reality", (Lake & Maillard: A Dictionary of Modern Painting, p. 136) abstract and nonrepresentational art becomes fused into an inseparable unity. Erotic expression will then be incompatible with this degree of abstraction. Intro., p. 1.
- Full Text:
- Date Issued: 1973
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