African art and myth
- Authors: Till, C M
- Date: 1977
- Subjects: Art, African , Art and mythology , Mythology, African
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2494 , http://hdl.handle.net/10962/d1013306
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- Date Issued: 1977
Art and power : an investigation into the effect politics, the church and economics have had on the content of a work of art and the development of art in general
- Authors: Heydenrych, Albert B
- Date: 1977
- Subjects: Art and religion , Politics in art , Art and industry , Art and state
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2499 , http://hdl.handle.net/10962/d1013390
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- Date Issued: 1977
Death and transcendence in northern European art
- Authors: Pratt, S R
- Date: 1977
- Subjects: Death in art , Art -- Europe, Northern
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2505 , http://hdl.handle.net/10962/d1015230
- Description: [From Introduction]. Time has revealed two distinct tendencies in the history of thought and art in Europe. That development in European culture which began in Ancient Greece is marked by a positive confidence in the relationship of man to his world. Parallel with but in opposition to this development is a separate progression in culture. The continuity of art in Northern Europe appears to be associated with the adherence of Northern man to a negative, fatalistic sense of being - to a spirit which is in conflict with a hostile violent environment. The purposo of this investigation is to determine, through art the nature of this sense of being in Northern Europe. No direct definition would be capable of conveying the fullest meaning of that spirit. lt is a feeling. To understand this morbid fatalism, it is therefore necessary to refer to the pre-Christian religion of the Germanic Barbarians - through which the Northern spirit manifested itself in the form of ragnarök. Ragnarök which can be translated as a moaning obscurity, shadows, twilight, fateful destiny, was a term used by Nordic bards in its broadest sense to describe the end of the world - the inevitable destruction of life.
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- Date Issued: 1977
South African art, the romantic principle and the Grahamstown group
- Authors: Clark, George Phillip Haven
- Date: 1977
- Subjects: Art, South African , Art -- South Africa -- Grahamstown
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2501 , http://hdl.handle.net/10962/d1014638
- Description: The purpose of this essay is to examine the "rumblings in the belly of Leviathan from which we are able to diagnose his disease" (Comfort). Adopting a cyclical idea of art, it aims to point out that South African art has degenerated to a state where the much publicised so-called leaders of art are simply using charm techniques to woo the consent of a society whose metaphysics are derived from twentieth century collective materialism. The South African situation is examined, as is the Romantic principle underlying all genuine artistic activity. It is proposed that the cure lies in a reinstatement of this principle and in a readjustment of the concepts of reality and unreality. Finally, the Grahamstown Group is propounded as an embodiment of the Romantic principle with its implicit concept of artistic reality.
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- Date Issued: 1977
The animal image in art
- Authors: Hall, Elizabeth
- Date: 1977
- Subjects: Animals in art
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2496 , http://hdl.handle.net/10962/d1013329
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- Date Issued: 1977
The tightrope walker
- Authors: Dale, Jessie Patricial Dill
- Date: 1977
- Subjects: Art and religion , Art criticism
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2498 , http://hdl.handle.net/10962/d1013336
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- Date Issued: 1977
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.
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- Date Issued: 1977