2024-03-29T02:25:40Zhttps://research-repository.st-andrews.ac.uk/oai/requestoai:research-repository.st-andrews.ac.uk:10023/153342019-03-28T15:16:26Zcom_10023_36com_10023_12col_10023_43
Robert S. Lorimer - interiors and furniture design
Shen, Lindsay Macbeth
Russell Trust
Chapter 1, entitled "The Scottish Tradition", builds on the early twentieth-century consensus that Lorimer had resuscitated a moribund Scottish tradition of design. While critics have examined the Scottish roots of Lorimer's architecture, the native sources of his furniture design have received little corresponding attention. This section aims to demonstrate the ways in which Lorimer's interest in historical Scottish architecture and woodwork informed his interior and furniture design. In particular, his use of vernacular and regional forms is juxtaposed with the revival of traditional types and motifs he shared with contemporary designers. Complementing a concern with indigenous design is Lorimer's interest in continental antique furniture. Lorimer's personal collection, and those of his clients, may be identified as formative in the development of his design. Chapter 2 examines the main sources, against the social background of Scottish furniture and interior design during the period. The circumstances of the commissions discussed here reveal Lorimer's combination of the roles of architect and interior designer, the focus of Chapter 3 on Lorimer's wide-ranging activities at Balmanno Castle, Perthshire. Chapter 4 seeks to redress the balance between Lorimer as traditionalist and agent for reform, particularly in the area of design education. It will be argued that his own design innovations were secondary to the latter achievement. His attitudes to industrial design and handcraft are considered here, which leads to the final chapter on workmanship. This section is comprised of an in-depth study of Lorimer's working relationship with the executants of his designs; the variant use of handwork and machinework is discussed, and finally some attempt is made to discern and acknowledge the peculiar contributions of designer and workmen.
2018-07-12T16:28:04Z
2018-07-12T16:28:04Z
1994
Thesis
http://hdl.handle.net/10023/15334
en
3 v.
University of St Andrews
The University of St Andrews
oai:research-repository.st-andrews.ac.uk:10023/144932019-03-28T15:16:27Zcom_10023_36com_10023_12col_10023_43
The political & social background to the Edinburgh public commissions of William Trotter
Garrington, Victoria
Jones, David
This thesis is not designed to be an exploration of William Trotter's cabinet-making style and its influences. Instead, it aims firstly to examine the full extent of Trotter's public commissions in Edinburgh, using extant original sources such as estimates, accounts and committee minutes. Previous studies have discussed these commissions, but in many cases the true extent of the work has not been revealed. This is particularly true with regard to Trotter's work at the College of Edinburgh and for the Town Council. This thesis, through an in-depth analysis of each of the Edinburgh public commissions, provides a more thorough assessment of the scale of Trotter's business and its position amongst Edinburgh / Scottish cabinet-making firms. Secondly, and most importantly, this thesis aims to provide an insight into the relationship between Trotter's public commissions and the political positions he held in Edinburgh during his working life. This is designed to shed light not only on Trotter's own working practices, but also on the system of local government in Edinburgh in the first half of the nineteenth century. Chapter 1 of this thesis provides an introduction to Edinburgh at the start of the nineteenth century, focusing on its architectural development. Chapter 2 introduces the firm of Trotter, outlining the various owners of the business and their partners. Chapter 3 provides information on the workings of the Town Council of Edinburgh, the Merchant Company, and the Dean of Guild Court, these institutions being interrelated. William Trotter's positions on the Town Council and its committees are discussed in the final section of this chapter. Chapter 4 provides a background to the development of the College of Edinburgh, from foundation until the involvement of W.H. Playfair. Chapter 5 focuses on the College Museum of Natural History. A discussion of the extant sources of information regarding Trotter's work here is followed by a brief history of the collection, before the various phases of this important commission are discussed in detail. The working relationship between W.H. Playfair and Trotter is also examined. The importance of the architect in relation to the development of the New Town of Edinburgh makes their collaboration particularly interesting. Chapter 6 continues the exploration of Trotter's work at the College by discussing his fitting out of the Speculative Society's rooms. Chapter 7 ends the section of the thesis on the College, discussing Trotter's work in areas of the buildings not covered by previous chapters. Chapter 8 covers work completed for the Town Council, including Council buildings, churches and public funerals. Chapter 9 discusses the work carried out at the George Street Assembly Rooms, while Chapter 10 outlines Trotter's preparations for the Royal Visit of George IV to Edinburgh in 1822, particularly his preparation of the Assembly Rooms and Parliament House. Chapter 11 examines work carried out for the Faculty of Advocates in their various libraries. Chapter 12 concludes the thesis with an extended examination of how Trotter's various Council / committee positions may have led to his receiving such a large number of important and lucrative public commissions. This discussion has wider implications which aid an understanding of the way in which the system of government in Edinburgh during Trotter's lifetime was susceptible to manipulation by merchants and craftsmen for their own ends.
2018-06-22T15:38:23Z
2018-06-22T15:38:23Z
2003
Thesis
http://hdl.handle.net/10023/14493
en
ix, 200 p., 19 p. of facsim.
University of St Andrews
The University of St Andrews
oai:research-repository.st-andrews.ac.uk:10023/97912019-03-28T15:16:28Zcom_10023_36com_10023_12col_10023_43
The iconography of St John the Baptist in medieval England, c. 1300-1550
Kaper, Annamieke
Luxford, Julian
Medieval England
John the Baptist
This thesis shows the importance of St John the Baptist in medieval England, especially
in relation to the veneration of him through imagery. Noticeably absent from modern
academic work, St John was a highly important saint in the church of the later Middle
Ages. Focusing primarily on imagery from the years 1300 to 1550, or the late medieval
period, I examine a collection of works of art which best highlight the devotional,
didactic and intercessory roles that St John played in the lives of the medieval people.
This thesis is broken down into two main chapters. Firstly, the ‘historic’ St John the
Baptist is examined. A collection of documentary sources is used to form a context
within which images of St John were viewed in the later Middle Ages. Scriptural and
patristic sources help to illustrate the early history of the saint, while hagiographic
sources further expanded upon the narratives. Liturgical, devotional and medieval
documentary sources help us to understand the devotional feelings and practices of the
people towards the saint. The second chapter focuses on the iconographical
representation of the Baptist in English imagery of the later Middle Ages. Broken down
by medium, I examine the representations of the Baptist in manuscript illuminations,
monumental paintings, stained glass, sculpture, metalwork and textiles.
2016-11-09T10:16:39Z
2016-11-09T10:16:39Z
2016-12-01
Thesis
http://hdl.handle.net/10023/9791
en
xi, 234 p.
University of St Andrews
The University of St Andrews
oai:research-repository.st-andrews.ac.uk:10023/235952021-07-16T14:00:41Zcom_10023_36com_10023_12col_10023_43
‘Per eccitar il popolo al concorso et alla divotione' : art, music and liturgy between ‘Pietas’ and ‘Magnificenza’ at the Confraternity of the Misericordia Maggiore on the Venetian mainland (15th-17th c.)
Vai, Emanuela
Moretti, Laura
Di Teodoro, Francesco P. (Francesco Paolo)
Fondazione Franco e Marilisa Caligara per l’alta formazione interdisciplinare
Society for Italian Studies
Royal Historical Society (Great Britain)
Centro Universitario Cattolico
Society for Renaissance Studies (Great Britain)
History of art
History of architecture
Renaissance studies
Historical musicology
Northern Italian Renaissance art
Confraternity studies
Patronage, art and society in Renaissance italy
This research investigates the relationship between sacred space and its function in a comparative way through a case study in the Venetian Republic between the 16th and 17th centuries, a key transitional period. Through an interdisciplinary approach, it seeks to understand the organisation of the space in relation to its function, form and spatiality.
To date scholarly research has tended to focus the attention on the most
famous centre of artistic production in Renaissance Italy. These studies, undoubtedly
valuable, lead to relative neglect of provinces and their local identities, and run the risk
misrepresenting the complexity of the 16th century. Furthermore, the existing literature
is far too often limited to an examination of a single piece of art and rarely explored as
multifaceted phenomenon.
By studying the ways in which liturgical and musical needs influence church interior, this thesis addresses these issues by means of a main case study on the westernmost boundaries of the Venetian mainland empire, the Basilica of Santa Maria Maggiore in Bergamo, which is explored through the interconnections of the church with the Confraternity of the Misericordia Maggiore, proprietor of the Basilica, as well as with other larger regional processes.
Analyses of the 16th and 17th centuries manuscripts sources are critical to this approach as they shed light on contemporaneous negotiation of local political and religious imperatives. By interpreting patterns of source-survival and employing hitherto unexamined sources, it is possible to understand the history of the sacred space of the Bergamask Basilica as a local but significant case in the Renaissance Venetian Republic, in which the life of the confraternity influenced and shaped both space and liturgy for a common purpose: 'per eccitar il popolo al concorso et alla divotione'.
2021-07-16T13:48:24Z
2021-07-16T13:48:24Z
2016-06-23
Thesis
http://hdl.handle.net/10023/23595
https://doi.org/10.17630/sta/114
en
2021-05-06
Thesis restricted in accordance with University regulations. Print and electronic copy restricted until 6th May 2021
[7], 415 p.
University of St Andrews
The University of St Andrews
oai:research-repository.st-andrews.ac.uk:10023/235312021-07-21T13:52:33Zcom_10023_36com_10023_12col_10023_43
Searching for photography’s realism
Liu, Weitian
Gartlan, Luke
Enlight Foundation
Photography
Theory of photography
Realism
This dissertation addresses the notion of photography’s realism with reference to recent theorisations of photography that affirm the medium’s social and political dimension. Formulated as at once an interpretive framework for considering the current status of photography and a realist strategy capable of fostering critical understandings of the operation of photography and its truth-claims, photography’s realism is brought into play in three case studies, each related to an established use of photography. The first case study looks at photographs taken by Edinburgh-based photographer Franki Raffles for the Zero Tolerance campaign which was aimed at increasing public awareness of domestic violence against women and children. The second case study turns to the practice of photojournalism related to the 2019 Hong Kong protests, focusing on a multi-media presentation published by the New York Times. The last case study traces the political trajectory of photographs taken of a bombardment in Rafah in 2014 from the moment of their production to a counter-forensic investigation conducted by Goldsmiths-based research agency Forensic Architecture. The discussion of how photographic events and practices operate in the three case studies leads to a reflection on the notion of photographic truth in the conclusion. In traversing three practices of photography, this dissertation gauges the usefulness and limitations of both old and new perspectives regarding photography’s realism, and along the way examines persistent anxieties and tensions at the heart of photography’s claim to truth.
2021-07-13T11:39:25Z
2021-07-13T11:39:25Z
2021-07-01
Thesis
http://hdl.handle.net/10023/23531
https://doi.org/10.17630/sta/101
en
2026-03-03
Thesis restricted in accordance with University regulations. Electronic copy restricted until 3rd March 2026
iv, 152 p.
University of St Andrews
The University of St Andrews
oai:research-repository.st-andrews.ac.uk:10023/41952020-11-17T03:00:53Zcom_10023_36com_10023_12col_10023_43
'Sons of Crispin' : the St Crispin societies of Edinburgh and Scotland
Marwick, Sandra M.
Carruthers, Annette
Allan, David
Crispin
Shoemakers
Cordiners
Lodges
City of Edinburgh Museums and Galleries hold a substantial collection of artefacts and record books donated in 1909 by the office bearers of the Royal Ancient Order of St Crispin. This organisation was the final reincarnation of the Royal St Crispin Society established around 1817. From 1932 the display of a selection of these objects erroneously attributed their provenance to the Incorporation of Cordiners of Canongate with no interpretation of the meaning and use of this regalia.
The association of shoemakers (cordiners in Scotland) with St Crispin their patron saint remained such that at least until the early twentieth century a shoemaker was popularly called a ‘Crispin’ and collectively ‘sons of Crispin’. In medieval Scotland cordiners maintained altars to St Crispin and his brother St Crispianus and their cult can be traced to France in the sixth century. In the late sixteenth century an English rewriting of the legend achieved immediate popularity and St Crispin’s Day continued to be remembered in England throughout the seventeenth century. Journeymen shoemakers in Scotland in the early eighteenth century commemorated their patron with processions; and the appellation ‘St Crispin Society’ appeared in 1763.
This thesis investigates the longevity of the shoemakers’ attachment to St Crispin prior to the nineteenth century and analyses the origin, creation, organisation, development and demise of the Royal St Crispin Society and the network of lodges it created in Scotland in the period 1817-1909. Although showing the influence of freemasonry, the Royal St Crispin Society devised and practised rituals based on shoemaking legends and traditions. An interpretation of these rituals is given as well as an examination of the celebration of the saint’s day and the organisation and significance of King Crispin processions. The interconnection of St Crispin artefacts and archival material held by Scottish museums and archives is demonstrated throughout the thesis.
2013-11-13T12:04:34Z
2013-11-13T12:04:34Z
2013-11-29
Thesis
http://hdl.handle.net/10023/4195
en
278
University of St Andrews
The University of St Andrews
oai:research-repository.st-andrews.ac.uk:10023/3182019-07-01T10:04:56Zcom_10023_36com_10023_12col_10023_43
Words and deeds: national style versus modernity in Finnish architecture 1890-1916 : the writings and work of Vilho Penttilä and the architecture of financial institutions
Ashby, Charlotte
Howard, Jeremy
National Style
National romanticism
Finland
Architecture
Nationalism
Fennomania
Electronic version excludes material for which permission has not been granted by the rights holder
This thesis examines the question of the extent to which the concept of a National Style dominated architectural production in Finland between 1890 and 1916.
The thesis maintains that National Style ideas should be understood as one of a number of impulses emerging in Finnish architecture in the 1890s. This point is explored through analysis of the writings of the architect, journalist and Finnish nationalist Vilho Penttilä. His writings reveal that alongside the National Style he was also concerned with the general question of architectural reform in Finland. This thinking included new ideas on the role that materials, construction and new technology should play in shaping architectural design. Alongside this ran interest in the development of a new language of architectural ornament capable of expressing the character of the building and the society who used it. International architecture was frequently referred to as a model in relation to the National Style and architectural reform in general. Comparison is made to other writings within the Finnish architectural press.
The thesis is tested through the examination of a case study: the buildings of Penttilä for the National Joint-Stock Bank [KOP] and the architecture of financial buildings in general, with further comparison made, where relevant, to the broader architectural field. This allows for the comparison of the work of a large number of architects and prestigious projects throughout the country. The study reveals that, just as was indicated through the analysis of architectural journalism, National Style ideas were explored alongside other concerns related to architectural reform. National Style features began to disappear in the mid-1900s, subsumed within the drive to find new architectural forms to reflect the modern age and Finland's hopes for the future. This was found to be the case even in relation to Penttilä's work for KOP, where both the architect and the institution were committed to the Finnish nationalist movement.
2007-04-14T16:05:50Z
2007-04-14T16:05:50Z
2007-03
Thesis
http://hdl.handle.net/10023/318
en
http://creativecommons.org/licenses/by-nc-nd/3.0/
Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported
498
University of St Andrews
The University of St Andrews
School of Art History
oai:research-repository.st-andrews.ac.uk:10023/83762019-03-28T15:16:33Zcom_10023_36com_10023_12col_10023_43
Hildegard of Bingen and the creation of the Rupertsburg 'Scivias' : power is in the eye of the beholder
Cesarz, Kathryn A.
Cassidy, Brendan
Wright, Rosemary
2016-03-08T12:57:55Z
2016-03-08T12:57:55Z
2005-03
Thesis
http://hdl.handle.net/10023/8376
en
University of St Andrews
The University of St Andrews
oai:research-repository.st-andrews.ac.uk:10023/153282019-03-28T15:16:33Zcom_10023_36com_10023_12col_10023_43
Arniston House : reflections on its interiors, 1726-1850
Wigston, Patricia E. M.
Jones, David
This thesis discusses the interior decoration between 1726 and 1850 of four of the principal rooms in Arniston House, Gorebridge, Midlothian, the country residence of the Dundases of Arniston, dominant figures in the Scottish legal profession during the 18th century. It is based on a study of the household inventories, account book entries, individual bills and, where accessible, extant decoration and furniture. Areas discussed include plasterwork, lighting, wall decoration, chimneypieces and hearth furniture, household furniture, curtains and flooring. Where appropriate, some discussion of the craftsmen who contributed to these interiors is introduced. The four rooms studied are the Great Hall, the High Library, the Dining Room and the Drawing Room. The Great Hall and the High Library belong to the first phase of building at Arniston, begun in c. 1726, to a plan by William Adam. The Dining Room and Drawing Room in the west wing, designed by John Adam, are representative of the second phase from the mid-1750s. Owing to dry rot in the west wing, the Dining Room and Drawing Room are presently undergoing considerable restoration work. It has therefore been impossible to examine at first hand various decorative elements in these rooms. Access has been limited to those rooms open to the public as part of a guided tour. What has become of much of the furniture is unclear. This problem has been aggravated by the removal of furniture from the west wing in the 1950s and its accommodation and storage in other parts of the house. Some items are on loan to Bute House, Charlotte Square, Edinburgh. Other pieces may have been sold or distributed to members of the Dundas family. As a result of the above circumstances, a considerable amount of this research has had to be based on documentary evidence and photographs.
2018-07-12T15:35:22Z
2018-07-12T15:35:22Z
1996
Thesis
http://hdl.handle.net/10023/15328
en
xii, 343 p.
University of St Andrews
The University of St Andrews
oai:research-repository.st-andrews.ac.uk:10023/144802019-03-28T15:16:34Zcom_10023_36com_10023_12col_10023_43
Negotiating the urban terrain : representations of the city of Glasgow in the visual arts
Pollock, Venda L.
Normand, Tom
Student Awards Agency for Scotland
This thesis analyses representations of the city of Glasgow in visual culture. Given the absence of any coherent study of Glasgow images the primary method is empirical. The thesis explores how the dynamic of change in the urban environment has been rendered in visual media by gathering together paintings, photographs, prints and journal illustrations. In order to contextualise the visual material within the social and historical circumstances that affect its character, this material is considered in relation to pertinent history and theory. Consequently, the disciplines of social and economic history, sociology, philosophy and urban studies are employed. The developing discourse of the city as a visual phenomenon is charted in a broadly chronological manner. Rather than a simplistic historical narrative, this highlights the unfolding connections between the ambitions of Glasgow's 'governors' and the ideological pattern of related images. The thesis opens by revealing the associations between Enlightenment philosophy and the visual interpretation of the increasingly commercial urban environment. It then analyses changes incurred by the projection of a 'municipal' consciousness and shows how the impact of industrialisation was visualised in relation to prevailing artistic styles. Furthermore, it considers the effect of the aesthetic climate on the creation and reception of urban imagery. The thesis then argues that, after the industrial heyday, there was a sense that the essence of Glasgow lay not in its monuments, but in its populace, particularly the working class. Finally, there is a close study of post-industrial Glasgow, accenting patterns of decline and highlighting resistance to commercially inspired and culturally directed 'official' visions. This thesis finds that there was a complex discourse between Glasgow's material reality and its visual representation. It gives full voice to the network of mediating factors and presents a highly specific case study in the aesthetic manifestation of urban life.
2018-06-22T14:42:55Z
2018-06-22T14:42:55Z
2003
Thesis
http://hdl.handle.net/10023/14480
en
535 p.
University of St Andrews
The University of St Andrews
oai:research-repository.st-andrews.ac.uk:10023/153092019-03-28T15:16:34Zcom_10023_36com_10023_12col_10023_43
Returning to the 'soil of the sensible' : phenomenological readings of Robert Morris's and Richard Serra's minimalist sculpture
Alexander, Sandra Kaye
Hopkins, David
This assessment of the Minimalist sculpture of artists Robert Morris and Richard Serra endeavours not only to describe the ways in which Maurice Merleau-Ponty's phenomenological philosophy has been utilised to analyse the formal character of their work, but also to question the extent to which critical interpretations of such artworks may lay claim to their intended meaning. Firstly, Merleau-Ponty's significant text, the Phenomenology of Perception, will be introduced by exploring a number of its themes relating to perception and to how the body acts as a locus for human experience within the phenomenal world. Secondly, it will be shown how notable comments taken from the Phenomenology have been discussed in relation to several of Robert Morris's Minimalist artworks made between 1962 and 1969. Next, additional ideas taken from the Phenomenology will be brought to bear on the Minimalist sculpture of Richard Serra whose artworks and writings from between 1966 and 1980 have also been interpreted, like those of Morris, to be products of a general phenomenological 'sensibility'. Yet as part of the conclusion to this thesis, the contemporary, critical reception of Morris's and Serra's works will be discussed and particularly, the problematic ways in which Merleau-Ponty's phenomenological theory has been used by commentators to 'explain' several of the non-traditional aspects of their practice. This ultimately serves to bring into question the applicability of such theory to these artists' production. Firstly, we will inspect what evidence is provided by Morris's and Serra's artworks and writings which would support their connection with Pontean theory. Secondly, we will look at just how critics cite Merleau-Ponty's text as a source for Minimalist practice. At the end of such analyses, we may be better able to assess whether the rigorous interpretation of many of these artists' works by way of the Phenomenology is justified, or whether this critical trend is a misapplication of a complex philosophical theory to an equally complex and multivalent form of art practice.
2018-07-12T13:04:20Z
2018-07-12T13:04:20Z
2000
Thesis
http://hdl.handle.net/10023/15309
en
86 p.
University of St Andrews
The University of St Andrews
oai:research-repository.st-andrews.ac.uk:10023/280052023-07-25T02:01:05Zcom_10023_36com_10023_12col_10023_43
A conceptual exploration of the monument in the United States since the Civil War
Fisher, Clare
Rider, Alistair
Arts and Humanities Research Council (AHRC)
Monuments
Memorials
Modern sculpture
Modern architecture
Public art
This dissertation offers a critical history of the concept of monument in the United States from the Civil War to the present day. It is premised on the assumption that understanding the discursive and material dimensions of such categories is necessary in order to recognise their historicity and capacity for change. Focusing on six key episodes across the twentieth century, the dissertation explores how various artists, architects, and memorial associations, adopted the concept of the monument to pursue specific social and political goals. It takes the architectural debates surrounding monumentality in the 1940s as a starting point and proceeds to examine five further instances in which the concept has been historically framed. These include Frederick William Sievers’s Monument to Matthew Fontaine Maury (1929), Barnett Newman’s Broken Obelisk (1963/9), Kara Walker’s Fons Americanus (2019), and the Franklin D. Roosevelt Memorial in Washington D.C. (1955-2001). A further chapter explores the status of the monument in the mid-1960s with a particular focus on how artists associated with minimalism drew upon past monument forms in their work, and the legacy of this interaction.
Throughout, I consider how much analytical weight the concept of the monument actually shoulders. I address the extent to which it is beholden to past definitions and forms, and explore how the study of the monument as a conceptual construct might highlight its critical and innovative potential. At a moment when the monument has become subject to widespread polemic, these issues have become all the more crucial. Reviewing the historical record, this dissertation demonstrates how the monument has operated across multiple discourses and suggests that the concept’s authority stems largely from its polyvalence.
2023-07-24T08:54:25Z
2023-07-24T08:54:25Z
2022-06-16
Thesis
http://hdl.handle.net/10023/28005
https://doi.org/10.17630/sta/549
AH/L503915/1
en
2027-05-21
Thesis restricted in accordance with University regulations. Restricted until 21st May 2027
253
University of St Andrews
The University of St Andrews
oai:research-repository.st-andrews.ac.uk:10023/217882021-04-07T14:00:35Zcom_10023_36com_10023_12col_10023_43
Some otherwhere : Édouard Glissant and the Caribbean landscape in contemporary art
Keohane, Kate
Spencer, Catherine
Brown, Karen
EU-LAC Museums
Horizon 2020 (Programme)
Glissant
Post-colonial
Landscape
Caribbean
Contemporary art
Over the past two decades, Édouard Glissant’s writings have gained ever-increasing prominence in the fields of post-colonial theory, Caribbean studies, and Francophone literature. They have also been widely used in art and exhibition practice as a ‘tool-kit’ for the display of works relating to themes of globalisation, migration, and diaspora. Glissant was interested and engaged in the arts during his lifetime, but it is not, however, this work that has gained in popularity. Instead, short quotations from his theoretical texts, or isolated terms, including ‘opacity’, ‘relation’, and ‘creolisation’, are utilised in extraction. This thesis returns to the conceptual possibilities of Glissant’s geo-poetic terms for the analysis of art that conveys the Caribbean landscape.
Although it is undeniable that Glissant’s writings have a global resonance, his central and repeating tropes are fundamentally embedded in the imagery and experience of the Caribbean archipelago. Against the aims of a colonial project that rationalises and stabilises through the instrumentalisation and control of nature, Glissant’s concept of the Otherwhere – a space that is simultaneously lived and imagined – is proposed throughout this research as a lens through which to incorporate post-colonial discourse within the analysis of identity, ecology, and visual art. In so doing, my work exposes the limits of schemas of visibility and representation that preclude multiplicity and performativity, and offers imaginative ways of figuring relations between individuals and their encounters with landscapes.
Under the chapters ‘The Sea’, ‘The Archipelago’, ‘The Spiral of Return and the Common-Place’, ‘Retaining Opacity while Communicating with the Tout-monde’, and ‘The Unrealised Museum’, works by well-known practitioners including John Akomfrah, Janine Antoni, and Coco Fusco are read alongside those of lesser-known artists who work within, from, and between islands of the Caribbean, including: Nadia Huggins, Stacey Tyrell, Ewan Atkinson, and Annalee Davis. In media ranging between photography, moving-image, and performance, these artists share a concern with environmentalism, climate change, community, and the experience of personal identity in relation to the specificities of place. Relational post-colonial ecologies framed through landscape imagery therefore call for analysis and modes of display that are carefully positioned between the aesthetic and the political – a process that is destabilising to perception, and which raises timely questions about precarity, progress, (in)visibility, and belonging.
2021-04-07T13:31:54Z
2021-04-07T13:31:54Z
2020-12-02
Thesis
http://hdl.handle.net/10023/21788
https://doi.org/10.17630/sta/57
693669
en
2025-11-13
Thesis restricted in accordance with University regulations. Electronic copy restricted until 13th November 2025
[12], 408 p.
University of St Andrews
The University of St Andrews
oai:research-repository.st-andrews.ac.uk:10023/103932019-03-28T15:16:40Zcom_10023_36com_10023_12col_10023_43
Robert S. Lorimer : interiors and furniture design
Shen, Lindsay
Chapter 1, entitled "The Scottish Tradition",
builds on the early twentieth-century consensus that
Lorimer had resuscitated a moribund Scottish tradition
of design. While critics have examined the Scottish
roots of Lorimer's architecture, the native sources of
his furniture design have received little corresponding
attention. This section aims to demonstrate the ways
in which Lorimer's interest in historical Scottish
architecture and woodwork informed his interior and
furniture design. In particular, his use of vernacular
and regional forms is juxtaposed with the revival of
traditional types and motifs he shared with
contemporary designers.
Complementing a concern with indigenous design is
Lorimer's interest in continental antique furniture.
Lorimer's personal collection, and those of his
clients, may be identified as formative in the
development of his design. Chapter 2 examines the main
sources, against the social background of Scottish
furniture and interior design during the period. The
circumstances of the commissions discussed here reveal
Lorimer's combination of the roles of architect and
interior designer, the focus of Chapter 3 on Lorimer's
wide-ranging activities at Balmanno Castle, Perthshire.
Chapter 4 seeks to redress the balance between
Lorimer as traditionalist and agent for reform,
particularly in the area of design education. It will
be argued that his own design innovations were
secondary to the latter achievement. His attitudes to
industrial design and handcraft are considered here,
which leads to the final chapter on workmanship. This
section is comprised of an in-depth study of Lorimer's
working relationship with the executants of his
designs; the variant use of handwork and machinework is
discussed, and finally some attempt is made to discern
and acknowledge the peculiar contributions of designer
and workmen.
2017-03-02T12:13:29Z
2017-03-02T12:13:29Z
1994
Thesis
http://hdl.handle.net/10023/10393
en
3 v.
University of St Andrews
The University of St Andrews
oai:research-repository.st-andrews.ac.uk:10023/6152019-03-28T15:18:36Zcom_10023_600com_10023_12col_10023_606
Symbols of growth: the decoration of Swedish schools 1890-1920.
Shepherd, Rachael
University of St Andrews. School of Art History.
Sweden
Anders Nilsson
Carl Larsson
Stockholm
folkskola
Previously in the University eprints HAIRST pilot service at http://eprints.st-andrews.ac.uk/archive/00000368/
Article 4 of 6 in issue devoted to the visual culture of the Scandinavian and Baltic region.
This article will discuss the placing of art in schools in Sweden and the ideology behind this. The activities of Föreningen för skolornas prydande med konstverk [The Society for the Decoration of Schools with Artwork] and like-minded individuals will be examined. The Society was primarily concerned with children’s ability ‘to see’ works of art, aspiring “...to convey art to the youth and the youth to the art.” Positioning the works of art in question within communal spaces facilitated the regular access to art prescribed by the Society. Didactic messages were channelled through compositional devices such as scenes of familiar localities and the empathetic subject of the youth in Swedish nature. Discussion will focus on how these art works made a collective school identity compatible with lessons in fostering national identity.
2008-12-19T12:32:54Z
2008-12-19T12:32:54Z
2003
Journal article
Inferno: Journal of Art History Vol. 8 Article 4 2003
1355-5596
http://hdl.handle.net/10023/615
en
School of Art History, University of St Andrews
oai:research-repository.st-andrews.ac.uk:10023/21072019-03-28T15:16:41Zcom_10023_36com_10023_12col_10023_43
The Office of the Dead in England : image and music in the Book of Hours and related texts, c. 1250-c. 1500
Schell, Sarah
Luxford, Julian
Medieval
Art history
Illumination
Books of hours
Psalters
England
Catholicism
Lay piety
Literacy
Music
Death
Commemorative practices
Tombs
Memorials
Death ritual
Burial practices
This study examines the illustrations that appear at the Office of the Dead in English Books
of Hours, and seeks to understand how text and image work together in this thriving culture of
commemoration to say something about how the English understood and thought about death in
the fourteenth and fifteenth centuries. The Office of the Dead would have been one of the most
familiar liturgical rituals in the medieval period, and was recited almost without ceasing at family
funerals, gild commemorations, yearly minds, and chantry chapel services. The Placebo and Dirige
were texts that many people knew through this constant exposure, and would have been more
widely known than other 'death' texts such as the Ars Moriendi. The images that are found in these
books reflect wider trends in the piety and devotional practice of the time. The first half of the
study discusses the images that appear in these horae, and the relationship between the text and
image is explored. The funeral or vigil scene, as the most commonly occurring, is discussed with
reference to contemporary funeral practices, and ways of reading a Book of Hours. Other
iconographic themes that appear in the Office of the Dead, such as the Roman de Renart, the Pety Job,
the Legend of the Three Living and the Three Dead, the story of Lazarus, and the life of Job, are also
discussed. The second part of the thesis investigates the musical elaborations of the Office of the
Dead as found in English prayer books. The Office of the Dead had a close relationship with music,
which is demonstrated through an examination of the popularity of musical funerals and obits, as
well as in the occurrence of musical notation for the Office in a book often used by the musically
illiterate. The development of the Office of the Dead in conjunction with the development of the
Books of Hours is also considered, and places the traditions and ideas that were part of the funeral
process in medieval England in a larger historical context.
2011-12-12T15:43:07Z
2011-12-12T15:43:07Z
2011
Thesis
http://hdl.handle.net/10023/2107
en
330
University of St Andrews
The University of St Andrews
oai:research-repository.st-andrews.ac.uk:10023/153232019-03-28T15:16:41Zcom_10023_36com_10023_12col_10023_43
Conversion or destruction : Lambert's proferred choice to his brethren in the 'Liber Floridus'
Nicol, Kirsty
The making of a medieval encyclopaedia is a much more complex and individual process than has hitherto been acknowledged by many researchers, concerned as they have been on revealing particular structures or intentions within the text compilation. However, even viewed objectively, much of the selection of texts for inclusion in the Liber Floridus may seem to reveal an overriding purpose concerned with the role of the Church in Salvation. This purpose, or indeed any other that gained Lambert's interest, should be visible from the selection and inflection of the images themselves. This is because Lambert showed himself as fully at home in giving shape to his ideas through figuration as he was in exploring and making sense of the accrued learning of the twelfth century, centring on the corpus of material which dealt with the role of the Church. It is therefore to the images and their iconography that this thesis addresses itself. It attempts to clarify those choices which Lambert is intent on revealing to his readers through the laborious and uniquely personal task that was the creation of the Liber Floridus. This thesis also looks at why Lambert chooses to communicate his ideas and message in such a singular manner. In looking at the Liber Floridus it becomes, apparent that Lambert was drawn by more than just antiquarian, or glossator's interests. By what he put together he may have intended quite literally a revelation to the reader of the importance of the role of the Church on earth and its crucial relation with the Church Universal of the coming eschaton. This thesis attempts to set the Liber Floridus in its context of previous and contemporary works. It looks at the way in which Lambert's lifestyle and influences may have affected his conception of the Liber Floridus and his intentions towards his readership. This naturally concentrates on religion, for Lambert had devoted his life to the Church. Taking what are generally considered the principal illustrations in the Liber Floridus, this thesis looks at their connective themes and shared attitudes. It analyses the history of these images and looks at what the subjects of these illustrations might mean both to Lambert himself and to his contemporary readership. It explores how Lambert may have manipulated style and iconography, often along with texts and scriptural quotations, to give his images their particular meanings. It explores the bold comparison of Good and Evil provided by Lambert and looks at why and how this contrast is emphasized, particularly in the context of the Church. Lambert shows similarities between the good topics he covers and also shows parallels between their negative equivalents. He further provides direct and comparative contrasts between positive images and, where suitable, their evil counterparts. Through these bold oppositions, Lambert puts before his readers the inevitable consequences attendant on following one side or the other. This thesis demonstrates that Lambert's pictorial encouragement in assisting his readers to make the right choice is the pivotal purpose behind the visual strategies of the Liber Floridus.
2018-07-12T15:24:15Z
2018-07-12T15:24:15Z
1995
Thesis
http://hdl.handle.net/10023/15323
en
163 p.
University of St Andrews
The University of St Andrews
oai:research-repository.st-andrews.ac.uk:10023/5052019-07-01T10:19:14Zcom_10023_36com_10023_12col_10023_43
The soft-focus lens and Anglo-American pictorialism
Young, William Russell
Normand, Tom
Photography
Lens
Pictorialism
Diffused image
Soft-focus
Electronic version excludes illustrations for which permission has not been granted by the rights holder
The history, practice and aesthetic of the soft focus lens in photography is elucidated and developed from its earliest statements of need to the current time with a particular emphasis on its role in the development of the Pictorialist movement. Using William Crawford's concept of photographic 'syntax', the use of the soft focus lens is explored as an example of how technology shapes style.
A detailed study of the soft focus lenses from the earliest forms to the present is presented, enumerating the core properties of pinhole, early experimental and commercial soft focus lenses. This was researched via published texts in period journals, advertising, private correspondence, interviews, and the lenses themselves. The author conducted a wide range of in-studio experiments with both period and contemporary soft focus lenses to evaluate their character and distinct features, as well as to validate source material.
Nodal points of this history and development are explored in the critical debate between the diffuse and sharp photographic image, beginning with the competition between the calotype and daguerreotype. The role of George Davison's The Old Farmstead is presented as well as the invention of the first modern soft focus lens, the Dallmeyer-Bergheim, and its function in the development of the popular Pictorialist lens, the Pinkham & Smith Semi-Achromatic. The trajectory of the soft focus lens is plotted against the Pictorialist movement, noting the correlation betwixt them, and the modern renaissance of soft focus lenses and the diffuse aesthetic.
This thesis presents a unique history of photography modeled around the determining character of technology and the interdependency of syntax, style and art.
2008-06-02T10:19:00Z
2008-06-02T10:19:00Z
2008-06
Thesis
http://hdl.handle.net/10023/505
en
http://creativecommons.org/licenses/by-nc-nd/3.0/
Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported
347
University of St Andrews
The University of St Andrews
oai:research-repository.st-andrews.ac.uk:10023/238812021-09-01T14:01:12Zcom_10023_1946com_10023_29com_10023_36com_10023_12col_10023_1948col_10023_43
Title redacted
Barghi, Yasmin
Sturkenboom, Ilse
Talajooy, Saeed
2021-09-01T13:55:29Z
2021-09-01T13:55:29Z
2021-12-01
Thesis
http://hdl.handle.net/10023/23881
https://doi.org/10.17630/sta/129
en
2026-08-16
Thesis restricted in accordance with University regulations. Print and electronic copy restricted until 16th August 2026
[38], ix, 544 p.
University of St Andrews
The University of St Andrews
oai:research-repository.st-andrews.ac.uk:10023/73572019-03-28T15:16:44Zcom_10023_36com_10023_12col_10023_43
Aspects of identity in the work of Douglas Strachan (1875-1950)
MacDonald, Juliette
Caruthers, Annette
This thesis explores facets of Scottish identity via the decorative work of Douglas Strachan. Nations and nationalism remain extraordinarily potent phenomena in the contemporary world and this work seeks to examine aspects of Scottish nationhood and cultural identity through Strachan's evocation of history, folklore, religion and myth. It has been argued that these are the chief catalysts for enabling people to define and shape their understanding of themselves and their place within society. Cultural identity is often understood as a passive form of nationalism which is remote from its political counterpart. Yet there are strong arguments to counter this belief. This thesis addresses some of the issues raised by such arguments and adopts an ethno-symbolic approach in order to re-evaluate Strachan's work, and that of his contemporaries. The thesis also develops the theoretical and contextual debates concerning the decorative arts in general and stained glass in particular in order to raise awareness of its merits and its role within our society.
2015-08-31T08:59:29Z
2015-08-31T08:59:29Z
2003
Thesis
http://hdl.handle.net/10023/7357
en
419 p.
University of St Andrews
The University of St Andrews
oai:research-repository.st-andrews.ac.uk:10023/18272023-04-18T09:43:27Zcom_10023_36com_10023_12com_10023_445com_10023_39com_10023_879com_10023_878col_10023_42col_10023_446col_10023_880
Scottish medieval parish churches : the evidence from the dioceses of Dunblane and Dunkeld
Fawcett, Richard
Oram, Richard
Luxford, Julian Marcus
Arts and Humanities Research Council
University of St Andrews. School of Art History
University of St Andrews. St Andrews Institute of Medieval Studies
Parish churches
Medieval
Scottish
Dunblane
Dunkeld
NA Architecture
An account of a research project into the architectural and historical evidence for the survival of medieval fabric in the parish churches of the dioceses of Dunblane and Dunkeld.
2011-04-18T13:06:11Z
2011-04-18T13:06:11Z
2010-02
Journal article
Fawcett , R , Oram , R & Luxford , J M 2010 , ' Scottish medieval parish churches : the evidence from the dioceses of Dunblane and Dunkeld ' , Antiquaries Journal , vol. 90 , pp. 261-298 . https://doi.org/10.1017/S0003581509990436
0003-5815
PURE: 7221864
PURE UUID: c1d5045f-3832-425c-8d54-36b2e054f4fd
Scopus: 82455241311
http://hdl.handle.net/10023/1827
https://doi.org/10.1017/S0003581509990436
AH/F010079/1
eng
Antiquaries Journal
(c) The Society of Antiquaries of London. Published by Cambridge University Press, available from http://journals.cambridge.org
oai:research-repository.st-andrews.ac.uk:10023/7362019-03-28T15:16:45Zcom_10023_36com_10023_12col_10023_43
Odoardo Fialetti (1573-c.1638): the interrelation of Venetian art and anatomy, and his importance in England
Walters, Laura M.
Humfrey, Peter
Marr, Alexander
Bolognese artist Odoardo Fialetti (1573 – c.1638) is a fascinating figure upon which curiously little work has been done. Though he is a rarely discussed pupil of Tintoretto, Fialetti’s oeuvre is vast (some 55 known paintings and approximately 450 prints) and incredibly diverse. His work encompasses religious subjects, portraits, books on drawing and sport, maps, and illustration for treatises on city defences, literary texts, and anatomy. His work was influential for several hundred years after his death, not only in Venice and northern Italy, but also in France where his designs were used as decoration on faïence produced at Nevers, and England, where his paintings were much admired at court. Fialetti’s close association with Sir Henry Wotton, and the careful copy of his drawing book made by Alexander Browne in the mid-seventeenth century, attest to his impact on the formation of an Italianate sensibility in the appreciation of the visual arts in Early Modern England. In the realm of science, Fialetti’s influence can be deduced from his drawings of curiously animated cadavers in detailed landscapes to those of future generations of anatomists and illustrators throughout Europe. Because of the diverse associations and projects throughout his career, the study of Fialetti is inherently interdisciplinary, encompassing the history of art, history of science and history of the Venetian book trade, as well as crossing geographical boundaries in linking Venetian art and English tastes of the late renaissance and early baroque. Through examination of his extant oeuvre, as well as discussion of lost work, I aim to recognise Fialetti’s status as an artist responding to contemporary artistic debates (disegno versus colorito), a changing cultural climate and the burgeoning importance of the printed medium.
2009-08-17T15:54:45Z
2009-08-17T15:54:45Z
2009
Thesis
http://hdl.handle.net/10023/736
en
2 v. (vi, 375 p.)
University of St Andrews
The University of St Andrews
oai:research-repository.st-andrews.ac.uk:10023/283422023-09-18T09:19:52Zcom_10023_36com_10023_12col_10023_43
The Maison Bonfils in the Middle East (1867-1918) : visual technologies, empire, and spectacle
Chelhot Lemyre, Carine
Gartlan, Luke
Adamson, Natalie
Social Sciences and Humanities Research Council of Canada (SSHRC)
Canadian Centennial Scholarship Fund (CCSF)
Society for the Study of French History
Society for French Studies (SFS)
Catherine and Alfred Forrest Trust
Elizabeth Gilmore Holt Scholarship
Photography
History of photography
Nineteenth century
Middle East studies
Ottoman Empire
Orientalism
This thesis explores the works of the prominent nineteenth-century photography studio the Maison Bonfils, which was founded in 1867 by the French photographer Félix Bonfils and his wife Marie-Lydie Cabanis in Beirut, Lebanon. Félix Bonfils and his photographic atelier have merited mention in history of photography surveys and exhibition catalogues. However, there has been no dedicated scholarship that has solely analysed the Maison Bonfils’ works to date. This thesis is therefore the first assessment of the Maison Bonfils’ diverse photographic archive and its signal importance for a transnational history of photography. Drawing upon theories on Orientalism and postcolonialism, the chapters’ case studies investigate the relationship between each photographic visual technology that was employed to produce a photographic “format” (i.e., albumen prints, albums, magic lantern slides, and stereographs) and themes related to the categorization of individuals, archeology, religious landmarks, the French involvement in tourism in Egypt and the establishment of modern infrastructure in Ottoman Syria. In doing so, it places the work of the Maison Bonfils within the history of nineteenth-century photography and elaborates on its role in the shaping of knowledge of the Middle East from a European perspective.
While this thesis focuses solely on the works of the Maison Bonfils, its purpose is not to provide a catalogue raisonné of the studio’s corpus, but to analyze specific works in conjunction with the visual technology employed, the photographic format produced, and their relationship with Orientalism and beyond. I argue that each photographic format contributed to a particular dissemination and reception of an altered representation of the Middle East, one that is unique to its technology, its way of displaying images, and issuing information.
Theoretically speaking, while I resort to and employ the Orientalist paradigm in my analysis of the visual material produced by the Maison Bonfils, not all photographs by the studio should be labelled as such. In fact, some illustrations are emblematic of a much more subtle and complicated form of visual practice that responded to local circumstances and markets from the perspective of a Beirut-based studio and international enterprise. Attributing an Orientalist label to all of Bonfils’ photographs would overshadow and hinder a perspective on the complex climate in which they were produced, circulated, and received at the time. While I argue that Edward Said’s theories on Orientalism are still valid to this day, some of this thesis’ chapters seek to expand on the complexities of Orientalism evoked in the photographs, as well as give credit to the agency of multiple actors in the Ottoman Middle East and North Africa. Presenting the region as multi-ethnic, multi-religious, multi-lingual, and multi-vocal considers the region’s individuals who may not have been given enough recognition in past scholarship.
2023-09-11T09:59:06Z
2023-09-11T09:59:06Z
2023-11-29
Thesis
http://hdl.handle.net/10023/28342
https://doi.org/10.17630/sta/606
1
en
2028-09-04
Thesis restricted in accordance with University regulations. Restricted until 4th September 2028
409
The University of St Andrews
oai:research-repository.st-andrews.ac.uk:10023/189012019-11-14T03:06:51Zcom_10023_36com_10023_12col_10023_43
John Adamson 1810-1870 and early photography at St Andrews
Pert, Bruce F.
Kemp, Martin
John Adamson
(1809-1870) was the eldest of 10 children
born to Rachel and Alexander Adamson, tenant of Burnside
Farm near
Boarhills, a few miles east of St. Andrews. If
photography had never been invented Adamson would still have
been a
figure of more than passing interest. His medical
studies in Edinburgh took place against a background of Knox
the Anatomist and the Burke and Hare scandal. His student
contemporaries included James Y. Simpson and Charles Darwin;
he studied in Paris around the time of the July revolution;
he was a
ship's surgeon on a voyage to China; he helped
establish the
Literary and Philosophical Society's Museum
and remained its curator from its beginning in 1838 until
his death in 1870. His obituaries are
testimony to his
dedication to medicine and his papers on sanitation are a
similar tribute to his commitment towards
public health.
Within weeks of Talbot's
discovery of Photogenic
Drawing, photography was on the Agenda of the Literary and
Philosophical Society in St. Andrews. Talbot's friendship
with Sir David Brewster gave St. Andrews a major part to
play in the early history of photography with John Adamson
taking a leading role.
Whether medicine or
photography was Adamson's major
interest is a moot
point but one feels very much that
Adamson was a doctor first and foremost and for this reason
it seemed
appropriate to discuss at some length his medical
career. He was also a man of passionate interests however,
2
including chemistry and natural history and it would have
been
surprising had he not found photography an irresistible
challenge.
In
looking at Adamson's photographic career the main
source has been the Minute Book of the
Literary and
Philosophical Society which, where appropriate, has been
linked to
photographic developments elsewhere. Photographic
references from this volume are
produced in Appendix 1.
Overall, it is hoped that this dissertation may serve
to
place John Adamson in a clearer context with regard to
both his medical and
photographic career.
2019-11-12T14:25:05Z
2019-11-12T14:25:05Z
1994-09-30
Thesis
http://hdl.handle.net/10023/18901
en
234, 37 p.
University of St Andrews
The University of St Andrews
oai:research-repository.st-andrews.ac.uk:10023/10212019-03-28T15:16:45Zcom_10023_36com_10023_12col_10023_43
The lost Venetian church of Santa Maria Assunta dei Crociferi : form, decoration, and patronage
Sherman, Allison M.
Crociferi
Venice
Titian
Tintoretto
Architecture
Reconstruction
Electronic version excludes images for which permission has not been granted by the rights holder
This dissertation reconstructs the original form and sixteenth-century decoration of the lost Venetian church of Santa Maria Assunta dei Crociferi, destroyed after the suppression of the Crociferi in 1656 to make way for the present church of the Gesuiti. The destruction of the church, the scattering of its contents, and the almost total lack of documentation of the religious order for which the space was built, has obscured our understanding of the many works of art it once contained, produced by some of the most important Venetian artists of the sixteenth century. This project seeks to correct scholarly neglect of this important church, and to restore context and meaning to these objects by reconstructing their original placement in the interest of a collective interpretation. Various types, patterns and phases of patronage at the church—monastic, private and corporate—are discussed to reveal interconnections between these groups, and to highlight to role of the Crociferi as architects of a sophisticated decorative programme that was designed to respond to the latest artistic trends, and to visually demonstrate their adherence to orthodoxy at a moment of religious upheaval and reform.
2010-09-22T15:30:02Z
2010-09-22T15:30:02Z
2010-06-24
Thesis
http://hdl.handle.net/10023/1021
en
315
University of St Andrews
The University of St Andrews
oai:research-repository.st-andrews.ac.uk:10023/6042019-07-01T10:05:26Zcom_10023_36com_10023_12col_10023_43
A survey of the development and assessment of the influence of golf as a traditional sporting theme in the pre-1930 decoration of ceramics
Mutch, Andrew C.
Carradice, Ian
This thesis investigates the history of golf ceramics from their origins in the mid-18th
century until ca. 1930. During this period the game of golf experienced enormous
popularity, developing into a globally successful sport. In the modern period golf has also
fostered a thriving trade for the collecting of golf memorabilia, surpassing that of any other
comparable sport. The thesis traces the development and spread of one form of golf
collectibles – golf ceramics – and considers both the relationship of the pottery industry to
the sport and the reasons behind the achievement of the genre.
The modern form of golf likely began in the 13th and 14th centuries as a short game played
within town walls. Under pressure from Burgh officials and Kirk ordinances, golfers
eventually moved to the linksland and developed the now characteristic long game. In 18th-
century Britain, elite golf clubs for gentlemen and noblemen sprang from existing sporting
societies such as the Royal Company of Archers. The first examples of golf pottery, a series
of 18th
- and early 19th
- century convivial and commemorative punch bowls, were
commissioned as a direct result of the growing competitive and social traditions of the early
golfing societies.
During the prosperous Victorian era, golf experienced a period of immense growth and
geographic expansion, particularly during the "boom" of 1890 to 1905. As golf spread
internationally, it became a game primarily for the leisure class, inspiring holiday and resort
destinations for the wealthy. Exclusive clubs grew at a rate that far surpassed the
availability of public golf, thereby changing the character of the game to one predominantly
practised by the rich. The game's growth inspired enterprising pottery manufacturers to
produce new and imaginative golf-themed pottery lines, pre-1930. Golf's burgeoning
popularity, combined with the affluence of its practitioners, created the ideal consumer
audience for decorative and non-utilitarian wares. Between 1895 and 1930, eighty-five or
more manufacturers were actively developing golf wares.
As the pottery industry recognized the potential of the golf market, inventive new lines were
developed that utilized original artwork from renowned illustrators of the era, such as
Charles Dana Gibson, Howard Chandler Christy, Palmer Cox, Mabel Lucie Attwell, and
Harrison Fisher. This commitment to quality golf imagery indicated that potteries placed
the game in a higher institutional priority than other traditional sporting themes, such as cricket, tennis, rugby, or football. Royal Doulton, for example, generated no fewer than
twenty ranges specifically for the golf market or adapted to meet the demands of its
expanding following. Doulton wares featured illustrative images produced by Gibson,
Charles Crombie, Henry Mayo Bateman, Will H. Bradley, and Barbara Vernon (Bailey).
Doulton’s commitment to prominent illustration reflected golf’s importance to the financial
good footing of the firm.
The substantial catalogue of historical golfing wares produced during the period of
examination experienced unparalleled success in secondary markets throughout the 20th
century. Prominent institutional and individual golf collections emerged, leading to the
formation of international golf collecting societies, and golf-specific museums and archives.
Interest in golf collectibles advanced to the level where golf became a stand-alone auction
speciality. In 2000 and 2001 alone, twenty-three major international golf sales were held.
Golf pottery values escalated commensurate with the increased notoriety, availability, and
competition.
Certainly, no other traditional sport can claim such an extensive collection of wares, or a
more enduring legacy in the worldwide ceramics and fine art pottery industry.
2008-12-18T10:32:07Z
2008-12-18T10:32:07Z
2008
Thesis
http://hdl.handle.net/10023/604
en
http://creativecommons.org/licenses/by-nc-nd/3.0/
Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported
2 v.
University of St Andrews
The University of St Andrews
oai:research-repository.st-andrews.ac.uk:10023/85052019-03-28T15:16:47Zcom_10023_36com_10023_12col_10023_43
The transformation of Northumberland House : interior decoration and furniture for the Third Duke of Northumberland by Nicholas Morel and Robert Hughes
Baxter, Clare E.
Jones, David
This thesis introduces the characters of the Third Duke and Duchess of Northumberland, who commissioned much work from Nicholas Morel and Robert Hughes for Northumberland
House between 1822-1825. It then reviews works by Morel and Hughes between 1805 and
1822, their fashionable business, and the association with the Prince of Wales which
influenced this commission.
A summary of the building history of Northumberland House explains its state as inherited by
the Third Duke in 1817. External works and related internal restructuring aimed to create a
property reflecting the Duke's wealth and elevated social status whilst retaining earlier
alterations. The suite of state apartments on the newly-modified south side of the house, for
which Morel and Hughes designed furniture and furnishings, is described with reference to
works of contemporary craftsmen, Thomas Grundy, William Croggon, William Collins,
Robert Jones and Thomas Ponsonby.
Analysis follows of accounts for furniture supplied by Morel and Hughes between 1822 and
1825. Each room and its furniture, often with exact locations, is described. This, combined
with interior photographs circa 1874, helps create a picture of Regency splendour. The
Morel and Hughes commission is examined, highlighting the importance of textiles in
Regency England, with sections on wall hangings, window curtains and draperies, upholstery
and passementerie and floor coverings.
In 1826 Morel left the partnership, joining George Seddon. Robert Hughes, however,
continued to work for the Third Duke until 1842 and examination of his accounts reveals
seasonal work opening and closing Northumberland House and the supply of some new
furniture. Analysis is made of major commissions by the Third Duke and Duchess in 1827
and 1832 of Hughes for work at Syon House.
Reference is made throughout to items of furniture and textiles surviving in the collection of
the Duke of Northumberland, and a detailed illustrated catalogue concludes.
2016-03-29T09:04:01Z
2016-03-29T09:04:01Z
2000
Thesis
http://hdl.handle.net/10023/8505
en
http://creativecommons.org/licenses/by-nc-nd/4.0/
Attribution-NonCommercial-NoDerivatives 4.0 International
228 p.
University of St Andrews
The University of St Andrews
oai:research-repository.st-andrews.ac.uk:10023/129082019-03-28T15:16:48Zcom_10023_36com_10023_12col_10023_43
Provisions for visually impaired people in museums and galleries in Scotland : an investigation
Smith, Heather Jacqueline Louise
Carradice, Ian
This investigation aims to assess issues of physical, sensory and intellectual access to museums and galleries in Scotland, with a particular relevance to people with sight difficulties. The research has been completed from the point of view of the visually impaired visitor, using original fieldwork comprising visits to museums accompanied by people with different types of sight difficulties. An examination of the facilities provided has been undertaken from the visitors' perspective alongside the current and forthcoming legislative requirements. The opinions of the museums' community have been taken into consideration primarily by discussions with the curators of the museums and galleries visited. An appreciation of the legislative stimulus for museums and galleries to consider people with disabilities, the Disability Discrimination Act 1995, is also attempted, including reports from the MPs involved in the development and the introduction of this legislation and the MSPs with responsibilities for the representation of people with disabilities in the Scottish Parliament. A particular focus is applied to the introduction of Part 111 of the legislation which was enacted during the research period and used as a stimulus for the areas of questioning with the visually impaired people who assisted. This facilitates the presentation of a context against which to place the findings of the discussions with visually impaired people. Visitors are an essential requirement for the existence and future of museums and galleries and the potential audience of people with visual impairments is increasing and significant.
2018-03-12T12:11:07Z
2018-03-12T12:11:07Z
2003
Thesis
http://hdl.handle.net/10023/12908
en
xiii, 431 p.
University of St Andrews
The University of St Andrews
oai:research-repository.st-andrews.ac.uk:10023/144852019-03-28T15:16:49Zcom_10023_36com_10023_12col_10023_43
Highland planned villages : the architecture of the British Fisheries Society
Maudlin, Daniel
The British Fisheries Society, founded in 1786, was a semi-charitable joint stock company, similar to other improvement trusts of the period established to fund the construction of roads, bridges, canals and hospitals. The Society was however unique in the breadth of its ambition to create a chain of complete settlements or villages the length of the northern Scottish coastline from Dornoch on the east to Oban on the west. These new settlements were intended to be fishing stations focussed on the perceived wealth to be gained from the herring fishery. Four settlements were established at Ullapool, Wester Ross, Tobermory, Mull, Lochbay, Skye and Pulteneytown, Wick, Caithness and the specific intention of this thesis has been to examine those four built environments created by the Society. This includes all elements of the building and design process necessary to 'create' a fishing village incorporating town planning, civil engineering, industrial and vernacular buildings as well as 'architecture' by Robert Mylne and Telford. The construction of each village is followed from the design of the street plan, contracting for works through to the design and construction of diverse works such as inns, storehouses, harbours and bridges. Varying circumstance resulting in each settlement developing its own architectural character despite the Society's standardised plans and policies the settlements are also considered within the wider context of planned villages, New Towns ports, and harbours with specific analysis of individual buildings and types such as Robert Mylne's inn at Tobermory.
2018-06-22T15:02:29Z
2018-06-22T15:02:29Z
2002
Thesis
http://hdl.handle.net/10023/14485
en
239 p.
University of St Andrews
The University of St Andrews
oai:research-repository.st-andrews.ac.uk:10023/152552019-03-28T15:16:49Zcom_10023_36com_10023_12col_10023_43
Art promotion in new Europe - towards cultural integration : the cases of Poland and the Czech Republic
Kolczynska, Paulina
Kemp, Martin
Russell Trust
University of St Andrews
Hope Scott Trust
Gapper Foundation
Batory Foundation
"Art promotion in New Europe: towards cultural integration. Cases of Poland and the Czech Republic" examines the situation in the cultural sector of these countries in the post 1989 era. A comparison of Poland and the Czech Republic highlights the wide scope of the problems in improving the standards of contemporary art promotion and cultural exchanges in each country. The study provides information on the background already gained from professional experience within the informal institutions and by individuals whose contacts built the initial ground for international cooperation in both Poland and the Czech Republic. The administrative as well as the artistic problems are discussed. The separate but very important issue of the commercial side of the effective international art promotion is also analysed. Commercial contacts and the difficulties in building an art market in both countries, are studied with regard to problems In the International art dealing during the recession. Much of the evidence is drawn from Interviews with Western and Eastern artists, dealers and arts organizers. This thesis also looks at the changing cultural policy within the European Union and at new potentials for successful International cooperation with the individual member-to-be countries, and their formal and informal institutions. An assessment of art promotion is explored with particular reference to the latest actions of the Council of Europe and the Commission of the European Communities. New ways of cultural collaboration are also examined, based on the rising Importance of the "regions" as administrative units within the European Union and their role in international and national arts programmes. The idea of cooperating regions is also used in this context as a direct way for non-member states to become natural part of the cultural exchanges, exploiting the geographical and historical ties. Assessment of the advantages and disadvantages of different forms of contemporary art promotion in the new Europe is based on evidence gathered from both administrators and artists whose work has been affected by the changes since 1989. The thesis provides a diagnosis of the situation and gathers opinions of the professionals seeking Improvements to facilitate a full cultural dialogue on an international basis.
2018-07-11T13:37:14Z
2018-07-11T13:37:14Z
1995
Thesis
http://hdl.handle.net/10023/15255
en
147 p.
University of St Andrews
The University of St Andrews
oai:research-repository.st-andrews.ac.uk:10023/33312019-11-01T09:41:46Zcom_10023_36com_10023_12col_10023_43
Paul Strand and Cesare Zavattini’s 'Un paese' (1955) : the art, synergy and politics of a photobook
Shannon, Elizabeth J.
Adamson, Natalie
Paul Strand
Cesare Zavattini
The photobook
Elizabeth McCausland
Un paese
Italy
Graphic design
Popular Front
Film
Luzzara
Blacklisting
Politics
United States
Communism
Photomural
Layout
Photography
Cold War
Realism
Marxism
"Paul Strand and Cesare Zavattini’s 'Un paese' (1955): the art, synergy and politics of a photobook" is a study of the genesis, production and reception of the photobook 'Un paese', created in a collaboration between the American photographer Paul Strand and the Italian neorealist screenwriter Cesare Zavattini. Set in Luzzara, a small town in northern Italy, Strand portrayed the community in a series of images of the landscape, the townsfolk and still lives. The thesis reconstructs the reasoning behind Strand’s decision to abandon documentary filmmaking for the creation of photobooks. Strand and the critic Elizabeth McCausland are shown to have specifically conceptualised the photobook as a hybrid form capable of communicating a multifaceted political message through a narrative synthesis of text and image, utilising strategies drawn from documentary film, the photomural and mass media publications. It is shown how Strand and his collaborators combined image and text placed within a deliberately spare graphic design and layout, to emphasise the solidity and importance of the subject matter, and to privilege the communicatory capacity of the photograph. In addition, this thesis reorients the study of Strand from concentration on his early individual fine prints to the collaboratively created political artworks of his later career. It is argued that Strand’s production of photobooks is directly related to his status as a Marxist American expatriate who left the United States to avoid blacklisting at the end of the 1940s. By carefully choosing the sites where he worked, utilising realist photographic strategies developed earlier in his career, and collaborating with sympathetic writers, Strand’s photobooks present the idealised image of communitarian, primarily agrarian life. 'Un paese' is shown in this thesis to typify Strand’s working method; to visually and materially embody his creative and political beliefs; and to exemplify the intermedial collaboration required by the photobook.
2013-01-23T13:49:14Z
2013-01-23T13:49:14Z
2012-11-30
Thesis
http://hdl.handle.net/10023/3331
en
2022-11-19
Thesis restricted in accordance with University regulations. Print and electronic copy restricted until 19th November 2022. Images in electronic copy restricted permanently
336
University of St Andrews
The University of St Andrews
oai:research-repository.st-andrews.ac.uk:10023/259302022-09-01T14:52:36Zcom_10023_36com_10023_12col_10023_2577
The Lothian picture collection : history and context
Wenley, Robert
Kemp, Martin
The historic picture collection of the earls and marquises of Lothian
hung, until the middle of this century, at their Sottish seat, Newbattle Abbey
(near Edinburgh). The first pictures came to the house in the mid-sixteenth
century, and were continually added to until 1900. This thesis reconstructs
the contents of that collection, now dispersed, by tracing the contribution
to it of the successive owners. A parallel aim is to put each collector,
and the collection as a whole, in a national and historic context, thus
reflecting developments of taste within both the family and the nation. A
detailed analysis of each picture has not been attempted.
Chapter I provides an account of the changing architectural context of the
collection. Chapter II is concerned with the artistic interests of the
earlier members of the family. Chapter III deals with the 1st Earl of
Ancram, whose son became 3rd Earl of Lothian by marriage, and who himself
had an important role in the cultural history of Britain. Chapters IV and
V analyse in detail the extensive acquisitions of the 3rd earl, and of his
son, the 1st marquis, respectively. Chapter VI covers the years 1703-1853,
when relatively few pictures were added. Chapter VII is devoted to the 8th
marquis, a collector of national importance; his book on Italian
history, literature and art is also briefly examined. Chapter VIII traces the
additional purchases made by his brother, the 9th marquis, with whose death
the period of collecting at Newbattle came to a close. A final chapter records the recent history of the collection.
Volume II contains a complete catalogue of all the pictures known to have hung at Newbattle, so far as it can be reconstructed. This volume also contain the illustrations.
2022-09-01T11:51:54Z
2022-09-01T11:51:54Z
1991-03-08
Thesis
http://hdl.handle.net/10023/25930
en
210 p., 130 p. of plates
The University of St Andrews
oai:research-repository.st-andrews.ac.uk:10023/7882019-07-01T10:13:32Zcom_10023_36com_10023_12col_10023_43
Confronting nightmares : responding to iconoclasm in Western museums and art galleries
Scott, Helen E.
Gunn, Ann V.
Arts and Humanities Research Council (AHRC)
Iconoclasm
Art
Vandalism
Museum
Gallery
Electronic version excludes material for which permission has not been granted by the rights holder
It is not an everyday event for an artwork in a museum or gallery to be harmed deliberately by a member of the public. Such acts of iconoclasm do occur more regularly than many people might assume though, and when attacks take place the repercussions can be serious. This thesis examines the ways in which cultural institutions react to this phenomenon, investigating how responses could be improved to tackle it more effectively.
The first chapter establishes the context to the discussion by categorising and rationalising the various motives behind iconoclastic crimes. The next chapter concentrates on historical trends of response, using the case of the suffragette iconoclasts to illuminate reactions from across society, before assessing the effects of their endurance. The third chapter broaches new ground in the field of prevention by exploring the access and education approach: a means of forestalling destructive compulsions among the public by promoting engagement with cultural institutions and works of art. The fourth chapter looks at security enhancement: the more traditional answer to iconoclastic offences. It evaluates the options open to museums from a defensive standpoint, but it also discusses the wider impact of implementation on accessibility. The final chapter presents the findings of a postal survey of 250 British museums and galleries undertaken in 2006. The purpose of the survey was to gauge the current nature and extent of the problem, and to determine how contemporary museum professionals deal with it.
Although some cultural institutions respond to iconoclasm with considered, sustainable and effective tactics, others would be wise to revise their conduct. This thesis concludes that while instances of iconoclasm will never be eradicated from galleries completely, the threat could be curbed significantly if the museum sector was to make a concerted effort to study its own responses and introduce necessary changes.
2009-11-20T10:13:33Z
2009-11-20T10:13:33Z
2009-11
Thesis
http://hdl.handle.net/10023/788
en
http://creativecommons.org/licenses/by-nc-nd/3.0/
Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported
334 p.
University of St Andrews
The University of St Andrews
oai:research-repository.st-andrews.ac.uk:10023/153112020-04-28T13:18:28Zcom_10023_36com_10023_12col_10023_43
David Martin (1737-1797) : a catalogue raisonné of his portraits in oils
Dixon, Lucy
Frew, John (John M.)
This catalogue raisonne of David Martin's portraits in oils documents over three hundred works. The catalogue is preceded by five chapters that establish an accurate and factual biography of the artist and discuss his artistic development in the middle and late eighteenth century. The thesis reveals Martin as an artist of national merit and illustrates his place in the development of British portraiture.
2018-07-12T13:16:15Z
2018-07-12T13:16:15Z
1995
Thesis
http://hdl.handle.net/10023/15311
en
480 p.
University of St Andrews
The University of St Andrews
oai:research-repository.st-andrews.ac.uk:10023/5142019-07-01T10:17:21Zcom_10023_36com_10023_12col_10023_43
'The nation's temple' : national museums and national identity, a comparative case study
Edwards, Juliet
Gunn, Ann V.
One of the institutions fundamental to European nation-states, national museums play host to various socio-political constructs including that of national identity. The public art museum is part of the complex institutional dynamic linking the political state and the nation; and as a public institution accessible - at least in theory - to all areas of society, it can play a homogenising and binding role within the state. This is a quality partly created, and often drawn upon by dominant discourses in an effort to encourage identification with a prescribed set of values inherent in the display of images and objects recognised as 'national heritage'.
This term is ambiguous, its meaning and application subject to change and political subversion. Broadly speaking 'national heritage' is a quality bestowed upon cultural artefacts by their display within a public space, encouraging the viewer, specifically the national viewer, to engage in the communal ownership implied by the museum space. In turn this raises many issues concerning the nature of cultural possession and the reality of national consciousness with regards to the consumption of such exhibits.
Presenting the nation to itself and the world was one of the most important tasks of the national museum in the nineteenth century; a means of defining national identity and of bolstering ideologies to political ends. In the twentieth century many of these 'truths' were undermined and criticised, allowing for more varied interpretations of national pasts and cultural achievements to be developed.
The Royal Museums of Fine Art in Brussels were involved in a fervent nationalisation process following the country's independence in 1830. In accordance with revolutionary ideals a common identity was needed in Belgium to link the people to each other and the state; the museum provided a forum for this, displaying a 'glorious common past' cultivated by the nationalist iconography of contemporary public art. However, the national idyll of Belgium did not correspond to the historical and geographical reality of the region; evinced by the fragmentation of the state that resulted in the country's federalisation in 1993. This effectively undermined the unitary identity promoted by the ruling elite, instrumental in the development of the museum and challenging its raison d'être.
In the case of the Rijksmuseum in Amsterdam, imagery and symbols have been used systematically to substantiate and consolidate a national identity based in a semi-mythical history of national exceptionalism. This is manifest primarily through the presentation and scale of the seventeenth century painting collection, encouraging a visual identification with this period of the country's history.
Whilst the incentives behind their formation and their presentation differ, these musems illustrate the manner in which symbols and imagery drawn from history and myth, can be used to promote or substantiate prevailing discourses of identity within a static structure. The success of such an enterprise is another matter, the degree of intent and the gap between intent and effect also serve to illustrate that the romantic ideal of the nation as understood by its founders or promoters does not necessarily impinge upon its reality.
2008-06-16T11:46:15Z
2008-06-16T11:46:15Z
2005
Thesis
http://hdl.handle.net/10023/514
en
http://creativecommons.org/licenses/by-nc-nd/3.0/
Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported
v, 137, xxviii leaves of plates
University of St Andrews
The University of St Andrews
oai:research-repository.st-andrews.ac.uk:10023/153172019-03-28T15:16:52Zcom_10023_36com_10023_12col_10023_43
Meaning in the allegories painted by Mantegna for Isabella d'Este : a study in the context of Gonzaga patronage and Mantegna's career
Beamish, Gordon Marshall
Kemp, Martin
Humfrey, Peter
Gapper Foundation
University of St Andrews
Elizabeth Gilmore Holt Scholarship
This Thesis attempts to demonstrate that the themes behind Andrea Mantegna's Parnassus and The Triumph of Virtue drew mainly upon the more arcane aspects of astrology and the cosmos that were dealt with by Marsilio Ficino and by Pico della Mirandola,and which were incorporated into the invenzione drawn up by Paride da Ceresara for the paintings. The examination of the relevant passages from Ficino's translations and editions of the Corpus Hermeticum and of the Asclepius, and from Pico della Mirandola's Conelusiones Magicae and Conelusiones Cabalisticae indicates that Mantegna has depicted two symbolic worlds and that the enlightened soul passes from the lower earthly state shown in The Triumph of Virtue to the higher Ogdoadic state presented in the Parnassus. For the invenzioni, paride de Ceresara grafted the main Hermetic-Cabbalistic theme with congenial literary sources, both contemporary and from the Antique. It is especially the case that aspects of Ciceronian rhetoric played a crucial role in reconciling and satisfying the strategic and inventorist tendencies in Isabella d'Este's thought. Thus it was that the paintings were meant to be read conjointly as a fluent visual essay in Hermetic-Cabbalistic teaching, clothed in an all' antica guise. Throughout this Thesis the approach has been that of an examination of the states of mind of Mantegna, of his Gonzaga patrons and especially that of Isabella d'Este. A comprehensive selection of primary documents has been important in this matter. The Parnassus and The Triumph of Virtue are the result of the mental approach of Mantegna, Paride da Ceresara and Isabella d'Este, with Mantegna displaying his skill and experience in portraying conflated ideas through visual compositions of gestural subtlety using motifs of authentic Antique origin.
2018-07-12T14:25:42Z
2018-07-12T14:25:42Z
1997
Thesis
http://hdl.handle.net/10023/15317
en
401 p.
University of St Andrews
The University of St Andrews
oai:research-repository.st-andrews.ac.uk:10023/86402019-03-28T15:16:53Zcom_10023_36com_10023_12col_10023_43
The depiction of St. John the Baptist's legend in Florence, 1300-1500
Chen, Yi-Pei
Cassidy, Brendan
This thesis focuses on the portrayal of St. John the Baptist in Florence during the
fourteenth and fifteenth centuries. The first chapter is devoted to the examination of
the Baptist's legend as outlined in the Bible and apocryphal texts in order to draw a
picture of the saint's legend as the Florentines of the Renaissance would have
understood it. The interest in the image of the Baptist stemmed from his position as
patron saint of the city. As a result of this state of affairs, a discussion of the origins
of the city's adoption of the saint is essential to our understanding of his importance
in Florence. This analysis together with a description of the Festival of the Baptist
celebrated in the city, forms the background to a fuller understanding of the works of
art under discussion.
The examination of Florentine works of art dealing with the Baptist's life
concentrates on eight full pictorial cycles. These comprise four projects for the
Florentine Baptistery (the mosaic programme in the Baptistery; Andrea Pisano's
bronze doors; the Silver Altar; a set of embroidery vestments), a state-commissioned
altarpiece by Giovanni del Biondo, and three privately commissioned cycles (frescoes
in the chapels of the Peruzzi, the Castellani, and the Tornabuoni families). The
examination of these works focuses initially on the textual sources which may have
inspired the work of art itself, and the influence of different patrons on the portrayal
of the saint. The significance of the cultural and social data reflected by these works
are what this thesis aims to draw attention to.
2016-04-19T16:10:06Z
2016-04-19T16:10:06Z
1999
Thesis
http://hdl.handle.net/10023/8640
en
196
University of St Andrews
The University of St Andrews
oai:research-repository.st-andrews.ac.uk:10023/6162019-03-28T15:18:37Zcom_10023_600com_10023_12col_10023_606
Asger Jorn and the photographic essay on Scandinavian vandalism
Henriksen, Niels.
University of St Andrews. School of Art History.
Denmark
Copenhagen
Situationist
Vandalism
Previously in the University eprints HAIRST pilot service at http://eprints.st-andrews.ac.uk/archive/00000369/
Article 5 of 6 in issue devoted to the visual culture of the Scandinavian and Baltic region.
This article will examine the work of the Danish painter, potter and sculptor Asger Jorn (1914-1973). Although Asger Jorn is sometimes presented as the Scandinavian exponent of post war Abstract Expressionism, he was really a movement of his own, consciously working against such categorisations, and arguing against abstraction in art. From the beginning of the 1940s onwards Jorn was the initiator of periodicals and movements and always an ardent supplier of manifestos and articles. The best known of these movements are the COBRA-group and the Situationist International. In particular his work in the Scandinavian Institute for Comparative Vandalism and his project "10000 Years of Scandinavian Folk Art" will be discussed.
2008-12-19T13:09:22Z
2008-12-19T13:09:22Z
2003
Journal article
Inferno: Journal of Art History Vol. 8 Article 5 2003
1355-5596
http://hdl.handle.net/10023/616
en
School of Art History, University of St Andrews
oai:research-repository.st-andrews.ac.uk:10023/151272019-03-28T15:16:54Zcom_10023_36com_10023_12col_10023_43
The historical development of Zimbabwe's museums and monuments
Lee, Karen M.
Carradice, Ian
The history of Zimbabwe's museums and monuments begins with the coming of British settlers to the colony of Rhodesia in 1890. By 1902 Rhodesia had one fully functional museum called the Rhodesia Museum. This museum concentrated on geology and natural history, two areas that the new colonists were anxious to explore and exploit in order to build up the country's young economy. In 1936 the Rhodesia Museum was nationalised and in the next twenty years two more museums were added to the National Museums of Southern Rhodesia organisation. Although the museums emphasised their objectivity as research and educational centres they also followed government policies that promoted white colonial culture over that of the indigenous black population. This suppression of the African heritage was more marked in the settlers' attitudes towards the country's monuments. At Great Zimbabwe and Matopos, both traditionally significant for local blacks, the white colonists supported interpretations that justified their rale over the African and rejected any involvement of the black tribes in the history of these two monuments. During the 1950s the museums and monuments conformed to the white administration's agenda and took an increasingly biased stand against the Africans, who had started to demand a greater say in the government of Rhodesia. By the time civil war broke out between black and white Rhodesians in 1966, these cultural organisations had become political tools for the colonial cause. This made their situation difficult when after fourteen years the black nationalists won the right to rule Zimbabwe. However, because of their unique ability to mirror the political, social and economic circumstances of the country the museums and monuments remain important contributors to Zimbabwe's cultural history and heritage.
2018-07-09T13:11:01Z
2018-07-09T13:11:01Z
1996
Thesis
http://hdl.handle.net/10023/15127
en
124 p.
University of St Andrews
The University of St Andrews
oai:research-repository.st-andrews.ac.uk:10023/276782023-05-31T21:25:42Zcom_10023_36com_10023_12col_10023_43
Building a New University : a study of the buildings and related interiors at the University of St Andrews, c.1890-1914
Burdge, Jessica Anne
Howard, Jeremy
Architecture
Education
University
University of St Andrews
19th century
20th century
Robert Lorimer
Robert Rowand Anderson
Gillespie & Scott
Mills & Shepherd
Walter Wood Robertson
Scottish architecture
Higher education
Principal Donaldson
Sir James Donaldson
University Hall
Students' Union
Library
Dining Hall
In his Opening Address of the 1910-11 session, Principal Donaldson looked forward with pride and optimism to the ‘500th year of the existence of the University’ of St Andrews. An anniversary that it may not have reached had the intentions of the 1883 Universities (Scotland) Bill to dissolve the University, been enacted. In the twenty-five years of his Principalship, from 1890 – 1915, the University of St Andrews had undergone a transformation from an institution that was struggling financially, with ‘ruinous’ buildings and decreasing student numbers; to a financially stable institution that had expanded on all fronts to lay the foundations of the modern University. In response to the changes instigated by the Universities (Scotland) Act of 1889, and under the determined leadership of James Donaldson, the University of St Andrews had reasserted and redefined its identity. This thesis brings together educational and architectural histories, to examine the influence of the juxtapositions of historic and modern, Scottish and English, on the developing identity of the institution of the University of St Andrews, as it transitioned to the modern era. The thesis takes an interdisciplinary approach in order to investigate the development of the built environment as intertwined with, and as a physical expression of, the changing institutional identity.
This thesis studies a selection of new building work, significant refurbishments, and associated interiors or furniture items, created at the University of St Andrews between 1889 and 1914. It examines the relationship between a notable period of building activity and the educational, institutional, and sociological changes that took place. It concentrates on the developing University purpose, as well as architectural preferences of the time that came together to define the multi-layered identity of the newly-formed University of St Andrews.
Through each of the case studies, this thesis examines the implications of the 1889 Act in prompting Principal Donaldson and his colleagues to pursue physical expansion. As such, links between the buildings and the changing concept of university education are highlighted, alongside the greater influence of donors and philanthropists such as the Marquis of Bute and Andrew Carnegie, and the University’s freedom to choose its architects, who range from the nationally acclaimed figures of Robert Rowand Anderson and Robert Lorimer, to local house designers Gillespie & Scott and Mills & Shepherd.
The works are examined against the backdrop of the period’s architectural emphasis on a national style relying on historic examples, and the potential conflict this brought with it between style and function, preservation and modernisation. The attempts of the architects to express the University identity within the context of Scotland’s oldest University and a developing modern purpose are compared and evaluated as a parallel to the complex delineations of Scottish and English education systems that dominated much of the debate on university reform at the same time.
In conclusion, the works are re-considered together as a narrative for this important period of change, when the University of St Andrews was striving to flourish in response to modern needs and expectations. In doing so, it claims the recognition due to Principal James Donaldson as the most influential figure in this process to resurrect the fortunes of the University.
2023-05-26T08:55:27Z
2023-05-26T08:55:27Z
2023-06-15
Thesis
http://hdl.handle.net/10023/27678
https://doi.org/10.17630/sta/480
en
http://creativecommons.org/licenses/by-nc-nd/4.0/
2026-05-25
Thesis restricted in accordance with University regulations. Restricted until 25th May 2026
Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International
260
The University of St Andrews
oai:research-repository.st-andrews.ac.uk:10023/29742019-03-28T15:16:55Zcom_10023_36com_10023_12col_10023_43
William McTaggart : landscape, meaning and technique
Scruton, David
This thesis alms to provide an interpretation of McTaggart's
work within a discussion of critical discourse in British
art, referring In particular to the relative values of
content and technique, in the second half of the nineteenth
century.
The first section contains an overview of the critical
approaches to McTaggart's work from early career to the
present day, centred upon how the notion of "impressionist"
has been applied to McTaggart. This Is followed by an
examination of some of the broad determinants of McTaggart's
career, such as patronage and his relationship with
Academic establishment.
Section II deals with content In landscape art, looking first
at the status of landscape In British art. It examines how
content was dealt with in Scottish landscape painting prior
to McTaggart, and how McTaggart's choice of painting
locations addressed traditions of Scottish landscape. The
notion of the "poetic" landscape Is advanced as an
appropriate Interpretation of McTaggart's approach. Within
this, specific Influences upon McTaggart, such as that of
J.E. Millais and 3.C. Hook, are studied.
In Section III, the Issue of technique Is examined. Again,
McTaggart's work is set within a framework of critical
values, outlining the importance of technique in critical
debate in the late nineteenth century. The extent to which
McTaggart may have come Into direct contact with French
Impressionism and contemporary colour theory Is questioned
and the way in which the concepts of "Impressionism",
"effect", "finish" and "unity" were discussed, and the extent
to which they can be applied to McTaggart's work, are
appraised.
The concluding section suggests that, despite apparent
polarisation of form and content in critical debate, the
fusion of technique and subject was still an important
aesthetic standard. The inter-relation of content and
technique in McTaggart's landscape art is examined within two
case studies.
2012-07-12T15:27:40Z
2012-07-12T15:27:40Z
1991
Thesis
http://hdl.handle.net/10023/2974
en
2 v (331p, 102p of plates).
University of St Andrews
The University of St Andrews
oai:research-repository.st-andrews.ac.uk:10023/95662019-03-28T15:16:57Zcom_10023_36com_10023_12col_10023_43
Artists, patrons and the power of association : the emergence of a bourgeois artistic field in Edinburgh, c.1775-c.1840
Forbes, Duncan
Normand, Tom
British Academy
Elizabeth Gilmore Holt Scholarship
Gapper Charitable Trust
The period 1775 - 1840 witnessed a dramatic transformation in
the size and complexity of the Edinburgh art world, with the
rituals associated with fine art consumption emerging from the
closed circles of the elite connoisseur and taking on new
meanings in the more open and contested spaces of the urban
public sphere. Expanding regimes of artistic exchange and
consumption accelerated rapidly during the course of the 1820s,
as the city's fine arts became more deeply embedded in British
and Continental markets. For a growing audience of wealthy
professional bourgeoisie and lesser gentry, the ownership of
painting became the requisite component of refined urban
living.
However, this expansion -- dominated by the resale
exchange of 'old' masters -- was not automatically a boon to
contemporary artists. In a highly stratified artistic sphere
many found the struggle for subsistence unequal. An early
protective association, the Society of Artists, foundered on
the rocks of its members' competing interests, and the
formation of the Scottish Academy in 1826 was also riven by
debilitating disputes between different groups of artists and
their patrons. During a period of acute political turmoil, the
press exploited these divisions for political gain, and disagreements
over modes of patronage were easily represented in
terms of the passions of party feeling.
It was only in the wake of the Reform Act, and the
remodelling of Edinburgh's body politic, that the 'problem' of
the public emerged as a central concern of elite patronage.
Members of the stumbling Scottish Academy joined with leading
civic figures to found the first Edinburgh art union. Its
successful harnessing of a largely middle-class public not only
secured the financial prospects of the city's leading artists,
but also offered civic elites a clearly defined pathway to
social power and recognition. The cultural authority accruing
to the fine arts allowed its managers to develop a self-interested
'governmental' agenda. However, the art union's
dominance of the urban arts did not pass uncontested, and a
counter organisation was formed to challenge its patrician
management style. These disputes, combined with earlier
confrontations, expose the complex array of competing interests
that structured Edinburgh's emergent artistic field during the
early decades of the nineteenth century.
2016-09-28T08:51:32Z
2016-09-28T08:51:32Z
1997-06
Thesis
http://hdl.handle.net/10023/9566
en
388
University of St Andrews
The University of St Andrews
oai:research-repository.st-andrews.ac.uk:10023/172932021-02-23T15:15:12Zcom_10023_36com_10023_12col_10023_43
Inherent pedagogies : critical approaches to exhibition making in the 2000s
González Rueda, Ana Sol
Brown, Karen
Spencer, Catherine
Consejo Nacional de Ciencia y Tecnología (CONACyT) (Mexico)
Fundación Jumex Arte Contemporáneo
Curating
Education
Pedagogy
Exhibition making
Contemporary art
Mediation
Unlearning
Posthumanist pedagogy
Feminist materialist pedagogy
Decolonial pedagogy
Unschooling exhibitions
Since 2010, the discussion about the relation between curating and education has revolved around Paul O’Neill and Mick Wilson’s proposition of the ‘educational turn’. This term mainly refers to the shift from the peripheral, supportive part of educational activities in relation to exhibitions, to their increased centrality within contemporary curatorial practice. While expressly educational initiatives have received plenty of attention, this thesis concentrates on the inherent pedagogies of the contemporary art exhibition space. The research draws attention to this aspect, particularly regarding critical curatorial approaches that seek to contest prevailing neoliberal educational and cultural policy across Europe. The thesis contributes to exhibition histories in its examination of four chapter-long case studies that were selected on the basis that they propose other modes of spectatorship to the prevalent model of entertained consumption. It also makes a contribution to curatorial studies by delving into distinct critical approaches and integrating interviews conducted with the curators in each case. Most importantly, this study presents the potential of educational theory to both examine and rethink the positions and relations exhibitions organise between institutions, curators, artworks, and the public. Specifically, I put forward the potential contribution of posthumanist, feminist materialist, and decolonial pedagogies to current curatorial practice. These particular methods are supportive of the challenge to Western, modern epistemology set out across the chapters through boundary crossings such as aesthetic experience/discourse, mind/ body, artwork/viewer, the self/the other. I argue that, as curators, we need to unlearn the established —but largely unacknowledged— educational conventions of the field, explore other ways of learning, and set about unschooling contemporary art exhibitions.
2019-03-15T12:50:52Z
2019-03-15T12:50:52Z
2019-06-27
Thesis
http://hdl.handle.net/10023/17293
https://doi.org/10.17630/10023-17293
en
http://creativecommons.org/licenses/by-nc-nd/4.0/
2024-02-15
Thesis restricted in accordance with University regulations. Electronic copy restricted until 15th February 2024
Attribution-NonCommercial-NoDerivatives 4.0 International
v, 272, [10] p.
University of St Andrews
The University of St Andrews
oai:research-repository.st-andrews.ac.uk:10023/150902019-03-28T15:16:58Zcom_10023_36com_10023_12col_10023_43
Thomas Rodger, 1832-1883 : a biography and catalogue of selected works
Johnstone, Karen A.
Kemp, Martin
The aim of this study was to produce a biography and corpus of work of St. Andrews photographic pioneer Thomas Rodger, 1832-1883. Rodger's life, from a working class background can be traced from childhood, through to being thought of as an important contributor to Scottish photographic history. The circumstances in which Rodger was fortuitous enough to grow up in were also a major influence in his initial interest and success in early photography. In this study not only has his life history been recorded, but his contributions to major exhibitions, events and publications have been accounted for. Rodger's photographic studio, built in 1866, has also been researched and illustrated for the purpose of this study. With reference to the corpus of work of Rodger's photographs, this was catalogued from a selection of St. Andrews University Library's photographic collection. This was done with the view of doing justice to Rodger's reputation as a renowned and respected professional photographer not only in St. Andrews but in Scotland's history of photography.
2018-07-09T09:08:56Z
2018-07-09T09:08:56Z
1997-06
Thesis
http://hdl.handle.net/10023/15090
en
2 v (321p,[174]p of plates).
University of St Andrews
The University of St Andrews
oai:research-repository.st-andrews.ac.uk:10023/140042019-03-28T15:16:59Zcom_10023_36com_10023_12col_10023_43
Occupational clothing in Fife museums, 1790-1914
Macrae, Joanna M.
Carruthers, Annette
This thesis surveys the holdings of occupational clothing in Fife museums' collections and considers whether they form a representative selection in relation to the occupational structure of Fife between 1790 and 1914. Occupational clothing is defined as any clothing worn by an individual in the course of their work, specialised or not. Uniforms of a national nature, for instance those of the police force and railway employees, are not considered, only those related specifically to Fife. Through the use of statistical accounts, census returns and trade directories, an occupational profile of Fife during the period has been constructed. The four main areas of employment - agriculture, textiles, mining and fishing - are dealt with in some detail and other trades and occupations are mentioned where specific or specialised garments can be associated with them. Information from surviving garments is supplemented by the study of fine art and photographic images. The holdings of occupational garments are minimal. The problems of survival of textiles and the tendency for museums to concentrate their often haphazard costume collecting on finer garments have exacerbated this situation. The possibilities of active collecting of occupational garments and cooperation between institutions on this matter are investigated.
2018-06-13T12:03:58Z
2018-06-13T12:03:58Z
2004
Thesis
http://hdl.handle.net/10023/14004
en
306 p.
University of St Andrews
The University of St Andrews
oai:research-repository.st-andrews.ac.uk:10023/118482020-02-20T11:57:55Zcom_10023_36com_10023_12col_10023_43
The artistic patronage of the cardinals of Pope Pius II (1458-64)
Richardson, Carol M.
This dissertation evaluates the patronage of the cardinals - not the popes - in early Renaissance Rome. It concentrates on the watershed papacy of Pius II (1458-64), which was shaped by two major events: the Conciliar debates and the capture of Constantinople by the Turks. The cardinals had been influential in the Councils of Basle and Constance, and held the power to elect the pope. The Turkish overrun of the east arguably coloured the papacy as much as the Conciliar debate forcing the Church to reassess its significance. Thus the cardinals' standing was high but potentially unstable, for their role lacked theological justification. Artistic patronage could lend the cardinals the prestige they required, and Pius found they were an essential resource for the restoration of Rome after a century of neglect. Pius II used the cardinals in a new way. They were his agents in diplomatic negotiations and they were often created by him to curry favour on the European political stage. Their artistic patronage in Rome reflected the growing confidence of the papacy. Pius II himself made only a limited contribution to Rome's restoration, but study of the cardinals' patronage reveals very extensive renewal of the city.The five chapters of this dissertation examine: Pius II's dependence on the College of Cardinals; the relationships the cardinals had with Rome; the tombs of the cardinals and the events surrounding their deaths; five case studies of individual cardinals' patronage; the nature of the artistic developments in the city at the time.There follows an appendix of documents, including a previously unpublished will of Francesco Todeschini Piccolomini. One hundred and fifty images of manuscripts, buildings, sculpture and painting illustrate the text. These also serve as a visual narrative of the artistic patronage of the cardinals at the time of Pope Pius II.
2017-10-13T18:16:38Z
2017-10-13T18:16:38Z
1996-07
Thesis
http://hdl.handle.net/10023/11848
en
University of St Andrews
The University of St Andrews
oai:research-repository.st-andrews.ac.uk:10023/153082020-04-28T13:18:51Zcom_10023_36com_10023_12col_10023_43
The influence of the Garden City movement in Fife, 1914-23 : with particular reference to Rosyth
Gleave, Susan
Frew, John (John M.)
This thesis is divided into sixteen chapters. Chapter 1 deals with the origins and development of the Garden City Movement, detailing Howard's original vision of a Garden City, the consequent popularising of his theories and the formation of the Garden City Association; also the large amount of literature published during the early 20th century on housing design, and the theories of Raymond Unwin. The chapter concludes by identifying signs of reaction again.st "Garden City" values, occurring slightly before the outbreak of the First World War. Chapters 2 to 9 detail the development of the Garden City at Rosyth, created for the Admiralty employees at the new Naval Base around 1915. The Garden City Association's enthusiastic anticipation of a model town, their subsequent disillusion due to the long delays in negotiations between the Admiralty and the Local Government Board for Scotland are documented In detail and followed by an account of the building operations by the Scottish National Housing Company Ltd., and further negotiations regarding the housing at Rosyth. Chapter 10 deals with the legislation and the designs for state-aided housing at the end of the First World War. The findings of the Royal Commission on housing in Scotland, of 1917, and the recommendations of numerous Government Committees concerning the provision of such housing are detailed, and followed by a summary of legislation passed oil this subject between 1919 and 1923. Chapters 11 to 15 focus on the post-war housing schemes at Dunfermline, Inverkeithing, Kirkcaldy, Buckhaven and Methil, and Leven. Chapter 16 provides a final and concluding assessment of the impact of the Garden City Movement, first of all at Rosyth, and then in the above post-war housing schemes. The difficulties of putting; Garden City ideals into practice are discussed, and the economic and theoretical reasons for the reduction of many of the schemes, and the growing tendency towards standardisation, are identified.
2018-07-12T12:50:08Z
2018-07-12T12:50:08Z
1988
Thesis
http://hdl.handle.net/10023/15308
en
265 p.
University of St Andrews
The University of St Andrews
oai:research-repository.st-andrews.ac.uk:10023/153362019-03-28T15:17:07Zcom_10023_36com_10023_12col_10023_43
European ceramic design 1500-1830
Coutts, Kieran Howard Julian
This thesis looks at the design and decoration of European ceramics in the period 1500-1830, paying particular attention to their place within the evolution of stylistic trends within European art and design in this period, including the dissemination of designs through prints during the Renaissance; the influence of the import of Oriental goods in the 17th and 18th centuries; the influence of metalwork in the 18th century; and the influence of the Classical revival of the late 18th century. It pays particular attention to the usage of objects and changes in eating and drinking, including the emergence and decline of service a la francaise in the 18th century, and the use of ceramics as room decoration in this period. It also considers ceramic product as an aspect of economic theory such as mercantilism and changes in society and industrial production.
2018-07-12T16:46:35Z
2018-07-12T16:46:35Z
1994
Thesis
http://hdl.handle.net/10023/15336
en
3 v.
University of St Andrews
The University of St Andrews
oai:research-repository.st-andrews.ac.uk:10023/6092019-03-28T15:18:35Zcom_10023_600com_10023_12col_10023_601
Tamara de Lempicka 1898-1980
Hodge, Kim.
University of St Andrews. School of Art History.
Tamara De Lempicka
Polish art
French art
Paris
Neo-cubism
Lhote
Article 3 of 7 in an issue devoted to the visual culture of Poland and Eastern Europe.
Previously in the University eprints HAIRST pilot service at http://eprints.st-andrews.ac.uk/archive/00000385/
Tamara de Lempicka’s fusion of artistic influences from 16th & 17th century Italy with the exuberant modernity of 1920’s Parisian society made her a leading figure in the world of Art Deco’s painters. Lempicka’s accomplishments and renown came from a mixture of innate design skills, her study of art and the inventiveness of her vision. This article examines the development of her work and its later reception.
2008-12-18T16:46:17Z
2008-12-18T16:46:17Z
2003
Journal article
Inferno: Journal of Art History Vol. 7 Article 3 2003
1355-5596
http://hdl.handle.net/10023/609
en
School of Art History, University of St Andrews
oai:research-repository.st-andrews.ac.uk:10023/219442022-02-24T11:21:18Zcom_10023_36com_10023_12col_10023_43
Italian Renaissance collecting of Classical antiquities : Ferdinando de' Medici and the Villa Medici in Rome
Brandi, Cara
Smith, Graham, 1942-
In 1569 Ferdinando de' Medici arrived in Rome to take up his position as Cardinal. Immediately upon his arrival he began to collect classical antique sculpture and by 1576 he had begun to transform a newly purchased property into a Roman suburban villa. The projects which Ferdinando undertook to transform his villa, which directly centred on the display of his antiquities collection, followed design and decorative traditions employed at other previous and contemporary villas and yet was also unusual. In this study four main design and decorative phenomena, including the statue gallery, the garden herms, the obelisk and the Niobe group, are studied in detail as part of Ferdinando's development of the Villa Medici in Rome. Ferdinando's objectives as an antiquities patron were shaped by the personal and political context of his role within the Medici family and its lineage, and his career in the Vatican. These elements are all drawn together to understand their impact on his development of the Villa Medici. As Ferdinando's transformation of the Villa Medici evolved over time, the existence of the statue gallery and garden herms reflected his early desire to create a property whose design and decoration could be compared with others like it in Rome, while also reflecting contemporary ideas developed outside of the city. In his use of an obelisk Ferdinando made clear associations with the urban renewal projects of Pope Sixtus V, and also made associations to his Florentine Medici lineage and Rome's ancient heritage. With the Niobe group, however, Ferdinando also began to define himself as one of the foremost patrons of antique sculpture in Rome. Ultimately, this study defines the purpose and meaning of Ferdinando de' Medici's antiquities collection and his development of the Villa Medici in Rome.
2021-04-08T08:59:33Z
2021-04-08T08:59:33Z
2001
Thesis
http://hdl.handle.net/10023/21944
en
354p
University of St Andrews
The University of St Andrews
oai:research-repository.st-andrews.ac.uk:10023/52152023-04-18T09:40:39Zcom_10023_36com_10023_12com_10023_445com_10023_39com_10023_879com_10023_878col_10023_42col_10023_446col_10023_880
Out of the wilderness : a fourteenth-century English drawing of John the Baptist
Luxford, Julian Marcus
University of St Andrews. School of Art History
University of St Andrews. St Andrews Institute of Medieval Studies
NX Arts in general
London, British Library, MS Royal 10 B XIV contains a large drawing of St. John the Baptist that is both exceptional for its quality and iconographically unique. Not previously noticed by art historians, it constitutes an important addition to English art of the early to mid-fourteenth century. This paper explores the physical nature of the drawing, its bibliographical context (in a book of natural philosophy), the nature and meaning of its imagery, and its artistic context and associations, within the broader framework of its ownership and use by Benedictine monks of Saint Augustine's Abbey, Canterbury. The drawing is considered a symptom of a wider interest in the acquisition of manuscript illumination at the abbey during the first half of the fourteenth century. It can be dated to about 1335-40 and is thought to have been executed in southeast England or East Anglia, where the works of art to which it is closest in stylistic and iconographic terms were produced. The iconography includes a number of motifs rare or unparalleled in images of John the Baptist, including a figure of Salome beneath the saint's feet and, most remarkably, a monumental Gothic arch composed of living oak trees, which frames the saint. The detail and semantic richness of this imagery make it practically certain that the drawing was made as a focus of devotion, probably for the manuscript's first recorded owner, the Oxford scholar-monk John of Lingfield.
2014-08-22T15:01:02Z
2014-08-22T15:01:02Z
2010
Journal article
Luxford , J M 2010 , ' Out of the wilderness : a fourteenth-century English drawing of John the Baptist ' , Gesta , vol. 49 , no. 2 , pp. 137-150 . https://doi.org/10.2307/41550543
0016-920X
PURE: 473574
PURE UUID: 106eeb4b-8f09-4fb9-ade7-604617df0ece
standrews_research_output: 32506
Scopus: 80052153307
http://hdl.handle.net/10023/5215
https://doi.org/10.2307/41550543
http://www.scopus.com/inward/record.url?scp=80052153307&partnerID=8YFLogxK
http://www.jstor.org/stable/41550543
eng
Gesta
© The International Center of Medieval Art 2010
oai:research-repository.st-andrews.ac.uk:10023/152472019-03-28T15:17:07Zcom_10023_36com_10023_12col_10023_43
The sound of colour : the intellectual foundations of Domenichino's approach to music and painting
MacKenzie, Rowland Charles
Wright, Rosemary Muir
The debate about the nature of the theoretical basis of the training under the Carracci can be expanded by an analysis of the paintings of Domenichino, who, as the heir to Annibale, might be expected to reveal something of his master's teaching. Domenichino is unusual by the manner in which his painting is grounded in colour harmonies which match those of sound, and in the fact that this modulation is supported by the theoretical principles which he later developed in the company of Matteo Zaccolini in Rome. This thesis will explore the theoretical basis of Domenichino's colour and his music, something which he learnt in the Carracci workshop and developed in the practice of the new manner of painting effected by the Carracci in Bologna. His interest in music was encouraged in Rome by his friendship with Giovanni Battista Agucchi. The commission for the paintings in Sant' Andrea della Valle gave Domenichino the opportunity to demonstrate the relationship between music and painting because the four pendentives of the crossing were designed as an extension of the apparati constructed for the Devotion of the Forty Hours.
2018-07-11T13:01:50Z
2018-07-11T13:01:50Z
1998
Thesis
http://hdl.handle.net/10023/15247
en
317 p.
University of St Andrews
The University of St Andrews
oai:research-repository.st-andrews.ac.uk:10023/29462019-03-28T15:17:08Zcom_10023_36com_10023_12col_10023_43
Cubo-Futurism in Russia, 1912-1922 : the transformation of a painterly style
Humphreys, Charlotte M.
Lodder, Christina
Parton, Anthony
Cubo-Futurlsm is defined both in terms of the development of
Cubist and Futurist styles of painting by the Russian avant-garde
artists Liubov Popova, Nadezhda Udaltsova, Olga Rozanova and Ivan
Puni between 1912 and 1915, and in terms of the reworking and
transformation of' these two movements against the unique Russian
cultural background into a new non-objective art after 1915.
The Russian artistic and cultural context, including Ouspensky
and the fourth dimension and the linguistic theories of the
Futurist poets Alexei Kruchenykh and Vellmlr Khlebnikov concerning
a transratlona]. language (zaum), played a vital role for a number
of artists in their move into non-objective painting and
construction. Zaum influenced the reworking of Cubist collage by
Malevich, Puni and Rozanova, and the abstract collages and reliefs
of Rozanova and Puni are defined as visual equivalents to the new
logic "broader than sense" envisaged by zaum. As part of the
Russian cultural context, indigenous art forms also acted as
possible stimuli for the development of a non-objective painterly
style. The abstract potential which artists saw in the icon was
exploited by Puni in his non-objective reliefs of 1915-c1919, and
the principles of decoration in Islamic Architecture may be seen as
an important source for Popova's painterly architectonics of
19 16-18.
After 1916, the principles of non-objective painting,
established fran an examination of Cubism and Futurism, were
applied to tasks of design and the theatre. Puni, Rozanova and
Udaitsova designed household and fashion items, and Alexandra Exter
and Alexandr Vesnin completed set and costume designs for several
productions in the Moscow Kamerny Theatre between 1916 and 1922.
In their attempt to articulate a dynamic spatial environment, the
principles for these designs derived from earlier Cubo-Futurist
experiments in painting.
2012-07-09T10:17:03Z
2012-07-09T10:17:03Z
1989
Thesis
http://hdl.handle.net/10023/2946
en
339p, [ca 100]p.
University of St Andrews
The University of St Andrews
oai:research-repository.st-andrews.ac.uk:10023/153372019-03-28T15:17:09Zcom_10023_36com_10023_12col_10023_43
The production and collecting of plaster and sulpher paste "impronte" as Grand Tour souvenirs in the 18th and 19th centuries
Marchand, K. Scott
Whilst investigating the origins and nature of impronte, it became increasingly obvious that as objects in and of themselves, very little comprehensive work had been done to address questions of where, how, and why these objects came to be made. Initial inquiries to various museums and individuals demonstrated that these were not particularly rare items, they were abundant, and commonplace but little understood as objects of art. Typically, impronte are considered to be representations of gemstones, this work is intended to demonstrate that there is a broader dimension to the subjects depicted by impronte. Chapter one contains a brief overview of the historical context of gem collecting and the traditional processes of working on hardstones. The 18th century revival of interest in classical knowledge was directly responsible for the resurgence in the interest in amassing collections of ancient gemstones; as well as the collection of modern gemstones carved in the manner of the ancients. This revival, while stimulating renewed interest in gemstones, was so lucrative that it also encouraged numerous forgeries to be made. The quantity and quality of forgeries was to ultimately undermine confidence in the authenticity of gemstones and result in a collapse of the popular market for the collecting of gemstones, and by extension, impronte. Chapter two is an examination of the practical issues relating to the materials, manufacture, and conservation of impronte. The materials commonly encountered are sulpher and plaster, on rare occasion, glass paste. A large portion of the chapter is devoted to the different aspects of manufacturing impronte. Other sections are concerned with the problems relating to the conservation, storage and cleaning of impronte in the museum environment. Chapter three is an overview of the biographical details and commercial activities of the known makers of impronte represented in private and public collections in the UK and elsewhere. Chapter four is a discussion of the variety of themes and subjects portrayed on impronte. There is a wide diversity of subject material contained in sets of impronte, and not all are strictly pertinent to the traditional subjects treated by gemstones. Large numbers of impronte are intended to be visual study aids, and souvenirs, of great works of art, both ancient and modern held in various famous collections popular with 'Grand tourists'. In many instances impronte are more similar to an 18th and 19th century version of a postcard, or slide package, purchased by modern museum visitors and art lovers. The four appendices contain information about the collection of impronte at the Ashmolean Museum, Oxford; details from 19th century guidebooks to the artisans of Rome, written by Heinrich Keller; a catalogue of the collection of Paoletti impronte at the University of St Andrews; and sample details of the conservation survey of the Ashmolean collection.
2018-07-12T16:58:18Z
2018-07-12T16:58:18Z
1998
Thesis
http://hdl.handle.net/10023/15337
en
165 p.
University of St Andrews
The University of St Andrews
oai:research-repository.st-andrews.ac.uk:10023/144762019-03-28T15:17:10Zcom_10023_36com_10023_12col_10023_43
The diffusion of Constructivist ideas in publications in Germany, 1918-1925
Durand, Corinne D.
British Foundation for Graduate Women
After a long period of disrupted communication, the years 1918-21 saw a rapid infiltration of Russian post-revolutionary culture into German progressive circles. In the thriving book market of Berlin, resourceful apologists like El Lissitzky and Il'ya Erenburg found conditions favourable to the diffusion of their ideas and played a critical role in encouraging pro-Soviet sentiment among the local vanguard. Their cosmopolitan enthusiasm, shared by a number of artists throughout Europe, bolstered hopes for co-operation between the modernist forces of all countries. For a brief while. Constructivism became a rallying point for those artists who had faith in their ability to foster cultural transformation and felt a common purpose in creating an environment conducive to social harmony. Various initiatives were taken to lay the foundation for a truly cohesive effort but yielded only temporary alliances. Serving as alternative platforms from which to gain influence and individual recognition, periodicals and slim book publications ultimately provided the main element of continuity in the attempt to found a Constructivist International. By 1925, those who had devoted most energy to this collective project had distanced themselves from a strong identification as Constructivists on the Berlin art scene and struck out in new directions.
2018-06-22T14:27:56Z
2018-06-22T14:27:56Z
2001
Thesis
http://hdl.handle.net/10023/14476
en
359 p.
University of St Andrews
The University of St Andrews
oai:research-repository.st-andrews.ac.uk:10023/37032019-07-01T10:11:03Zcom_10023_36com_10023_12col_10023_43
The 'Blue Rose' movement and Russian symbolist painting
Bowlt, John E.
Haskell, Larissa S.
The object of this essay is two-fold: firstly, to present an examination of the "Blue Rose" group of artists in the context of Russian Symbolism and secondly, to indicate its importance to the evolution of modern Russian painting. It was felt that while the development of the Russian visual arts of the period 1910-1930 had been studied in some detail, especially by Western scholars over the last few years, the preceding decade was still an obscure and confused field of research: the total absence of any adequate appraisal of the "Blue Rose" movement either in Russia or in the West and my own conviction that this movement warranted particular attention as a vital link between Russian Realism and the so-called avant-garde acted as the prime motives for the completion of this work.
In order to justify this assertion I have attempted to consider the emergence of the "Blue Rose" group as part of an organic, indigenous process and to relate it to the achievements of Russian art of the late 19th century. Since the work of the "Blue Rose" group is unknown to Western observers, certain paintings of leading members -Kuznetsov, Sapunov, Sar'yan, Sudeikin--have been analysed in detail; in the case of less active members - Arapov, Peofilaktov,Utkin – a more cursory examination has been presented; since this essay is concerned with the development of easel painting above all, the output of Bromirsky and Matveev (the two sculptors of the group) has been given only marginal consideration.
Throughout the text the name, "Blue Rose " has been used to denote that group of sixteen artists who exhibited at the single exhibition of that name in March, 1907. Although the name was used for the first time only at that exhibition, I have applied it in this essay to the group and to individual artists throughout their Symbolist period, i.e. c.1904-1908. The text of this work is based largely on material studied in Moscow between 1966; and 1968. Although original "Blue Rose", paintings are very rare, some examples were found both in public and in private collections: in this respect, access to the store-rooms of the Tret'yakov Gallery, Moscow and the Russian Museum, Leningrad facilitated my task. Published material concerning the genesis and development of the "Blue Rose” group amounts to very little and, therefore, I had to rely heavily on private archives and personal reminiscences of contemporaries as well as on more general sources such as the Symbolist journals and memoirs: in this respect, of particular value were the manuscript of Arapov's autobiography, the diaries and documents of P. Kuznetsov, the unpublished guide to the reserves of the Tret'yakov Gallery and the oral collections of the late V. M. Lobanov; W. Nouvel's unpublished monograph on Diaghilev provided me with useful material in my study of the "World of Art”. In addition, relevant written material was found and consulted in the Lenin Library, Moscow, the Tret'yakov Gallery Library, Moscow, the Pushkin Museum of Fine Arts, Moscow, the Central State Archives of Literature and Art, Moscow, the Saltykov-Shchedrin Library, Leningrad, the Russian Museum Library, Leningrad; in the West extensive use was made of the facilities of the British Museum, the Victoria and Albert Museum, the Library of the School of Slavonic and East European Studies at the University of London, the Library, of Congress, the New-York Public Library and the Widener Library, Harvard.
Because of the complete absence of Russian exhibition catalogues of the Symbolist period in the West, and of their rarity in Russia, detailed listings have been made where relevant to the text. In the case of the “Crimson Rose" and "Blue Rose" exhibitions the participators and their contributions are listed in full in Appendices I and III; this is because only one copy of the former is known to exist (in the library of the Leningrad Academy of Fine Arts) and only two copies of the latter have been located. In these instances and in those of the "Golden Fleece" exhibitions the original Russian has been retained in order to avoid that constant confusion which translation and retranslation of picture titles has caused in the West. The illustrations are from pictures in Russian public and private collections and, in some cases, where the original has been lost or has not been traced—from reproductions in contemporaneous books and journals. The system of transliteration is that used by the journal, Soviet Studies (published by the Institute of Soviet and East European Studies, Glasgow), although where a variant has been established already this has been used, e. g. Diaghilev (not Dyagilev), Jawlensky (not Yavlensky).
2013-06-17T10:30:14Z
2013-06-17T10:30:14Z
1972
Thesis
http://hdl.handle.net/10023/3703
en
http://creativecommons.org/licenses/by-nc-nd/3.0/
Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported
565
University of St Andrews
The University of St Andrews
oai:research-repository.st-andrews.ac.uk:10023/6712019-03-28T15:16:10Zcom_10023_36com_10023_12col_10023_42
From Baghçesary Salsabil to Bakhchisarai Fountain: The Transference of Tatar Triumph to Tears
Howard, J C
Howard, J C
tatar
khanate
mausoleum
Hungary
salsabil
This is the last chapter of a book which was based on a conference held in the late 1990s at St Andrews
Contents of whole book: Catherine the Great's 'Greek project' and the ideology of court architecture during her reign / Dmitry Shvidkovsky -- Shadows in the city: public representations and private identities in Warsaw during the Stalin era / David Crowley -- The Devil's work: unholy relics of Nazi Germany / Jonathan Meades -- The triune identity of Romanian architecture: mid-twentieth century state building / Augustin Ioan -- 'Singing of the nation, invocation of the Holy Ghost': Wyspianski's Veni Creator hymn / Marta Romanowska -- An architectural icon for Hungary: Vajdahunyad Castle / József Sisa -- The Ruler Prince of Moldavia, Vasile Lupu, and the church of Golia Monastery / Anca Brãtuleanu -- Calling time on the yoke: Revival period clock towers in Bulgaria / Rachel Angelova -- From the peasant estate to the industrial city: images of the world of the Russian entreperneurs (1780s - 1910s) / Ekaterina Shorban -- New developments and historical continuities in contemporary Hungarian artistic allegiances / Katalin Keserü -- Latvian fates: reflections on sculpture / Zigfrids Sapietis -- From Baghçesaray 'Salsabil' to Bakhchisarai Fountain: the transference of Tatar triumph to tears / Jeremy Howard.
2009-04-21T14:55:58Z
2009-04-21T14:55:58Z
2002
Journal article
Howard, J.C. (2002). From Baghçesary Salsabil to Bakhchisarai Fountain: The Transference of Tatar Triumph to Tears. In: J.C. Howard (Ed.) By Force or By Will: The Art of External Might and Internal Passion pp. 177-190
0951451898
StAndrews.ResExp.Output.OutputID.7427
http://hdl.handle.net/10023/671
en
By Force or By Will: The Art of External Might and Internal Passion
177-190
University of St Andrews
oai:research-repository.st-andrews.ac.uk:10023/218952022-01-05T16:09:13Zcom_10023_36com_10023_12col_10023_43
The best Pompeii in Scotland : 'A series of calotype views of St. Andrews' by David Octavius Hill and Robert Adamson
Schoonhoven, Anne Marie
Smith, Graham, 1942-
Photography had some of its earliest applications in Scotland, at St. Andrews, as a result of the friendship and collaboration between Sir David Brewster, Principal of the United College of St Leonard and St Salvator, and William Henry Fox Talbot, inventor of the photogenic drawing and calotype processes. Given the limitations of the new art of photography in its early stages of development, stable objects were critical to the success of its images. Architectural monuments therefore presented themselves as interesting and cooperative subjects. Moreover, with this choice of subject, photography joined a pre-existing tradition of illustrating famous architectural monuments, a tradition for which there was already a popular market and a set of established conventions governing how buildings were to be recorded. This thesis investigates the manner in which the calotype followed or expanded upon previously established conventions of documenting architecture. More specifically, it is concerned to explore the extent to which the tradition of photography in St. Andrews reinforced the prominence of particular buildings and influenced the way in which these buildings were depicted. It will do so through a consideration of the technical aspects of the calotype process, and through a detailed investigation of A Series of Calotype Views of St. Andrews, by David Octavius Hill and Robert Adamson. This album is one of the earliest instances of, and an elaborate attempt at, recording prominent buildings using the calotype process. The thesis will compare these photographic views with the tradition of pre-photographic representations of the same subjects, to see what similarities exist, and where the photographic views depart from this tradition.
2021-04-08T08:59:16Z
2021-04-08T08:59:16Z
2002
Thesis
http://hdl.handle.net/10023/21895
en
vi, 125 p, 125 p of plates.
University of St Andrews
The University of St Andrews
oai:research-repository.st-andrews.ac.uk:10023/6212019-03-28T15:18:38Zcom_10023_600com_10023_12col_10023_607
The Cathedral of St Alexander Nevski in Sofia.
Leandro, Gloria.
University of St Andrews. School of Art History.
Bulgarian architecture
national style
Ivan Semenovich Bogomolov
Alexander Nikanorevich Pomeranchev
nineteenth century
Previously in the University eprints HAIRST pilot service at http://eprints.st-andrews.ac.uk/archive/00000393/
Article 4 of 6 in an issue devoted to the visual culture of South Eastern Europe
Built to celebrate the liberation of Bulgaria from centuries of Ottoman domination, the Cathedral of St. Alexander Nevski in Sofia has aroused only scant interest among art historians both inside and outside the country. In recent years, the general disinterest surrounding this monument can be ascribed to the political climate in Bulgaria after the Second World War; for almost half a century the militant atheism of the Communist regime stifled the religious feelings of the Bulgarian people, forcing believers underground. Consequently, under pressure from the regime, religious works of art and places of worship fell into neglect.
In view of this void, the aim of my research was to document as completely as possible all the various aspects of the Cathedral of St. Alexander Nevski. I then traced the history of Bulgaria, starting from the Ottoman conquest and focusing particularly on the period of the Bulgarian Renaissance, which led the country, with the help of Russia, to freedom from the Turkish Empire and then to independence. I hope that this study will shed a glimmer of light on this splendid building and help to stimulate interest in Bulgaria's artistic heritage.
2008-12-19T14:26:36Z
2008-12-19T14:26:36Z
2004
Journal article
Inferno: Journal of Art History Vol. 9 Article 4 2004
1355-5596
http://hdl.handle.net/10023/621
en
School of Art History, University of St Andrews
oai:research-repository.st-andrews.ac.uk:10023/30482019-04-26T16:58:31Zcom_10023_36com_10023_12col_10023_43
Jackson Pollock, 1930-1955 : the influence of the Old Masters
Roncone, Natalie Maria
Spencer, Robin
Normand, Tom
Jackson Pollock
American abstract expressionism
El Greco
Rembrandt
Tintoretto
Michelangelo
Old Masters
Goya
Giotto
Rubens
David Smith
Mark Rothko
Franz Kline
Willem de Koonig
Metropolitan Museum
New York
The imagery in Jackson Pollock’s three extant sketchbooks which date from c.1934-1939 is dependent on that of other artists, especially El Greco, Rubens and Tintoretto. By 1947 however, the painter achieved a mature synthesis, distinctly his, which influenced contemporary painting, and was seminal for the work of a number of artists of the succeeding era. This dissertation is an attempt to document the phases of Pollock’s artistic style from the early 1930s through to the middle 1950s, and to investigate the forces which may have catalyzed his temperament and precipitated his late style.
The early sketchbooks begun in c.1934 represent Pollock’s engagement with the art of the Old Masters and the teaching techniques of Thomas Hart Benton that utilized works from the Renaissance. The third sketchbook from c.1937-1939 induced him to re-examine the work of the Old Masters in a dialectical approach which incorporated new masters with old, but remained preoccupied with the sacred imagery found in the first two books. It is a resolution of these seemingly opposing modes of representation which produced several influential paintings in the early 1940s, including Guardians of the Secret and Pasiphae. At the same time these works display structural emulations related to those of Old Master paintings that would become increasingly prominent in Pollock’s art.
The canvases of 1947-1950, produced in what is commonly termed the “Classic Poured Period,” appear to represent a quantum leap beyond the concerns of Old Master works and European precedents. By this point Pollock had developed a fluency and assurance in his use of color and line that seems to extend further than the studied paradigmatic repetitions of his early sketchbooks. However, despite the radically new technique his paintings still exhibit pictorial and formal infrastructures derived from Renaissance paintings which were absorbed into Pollock’s new idiom with surprising ease.
In 1951 Pollock enters what Francis V. O’Connor termed as ‘his fourth phase’. The Black paintings of 1951-1953 betray a further exploration and adaptation of Old Master ideas, both iconographic and aesthetic and were created in Triptychs and Diptychs, typical altarpiece formats. With these paintings Pollock’s forms acquired a confident plasticity and invention derived from the sculptural practices of Michelangelo, and progressively fewer individual images are quoted verbatim.
An understanding of Pollock’s early preoccupation with old Master painting is essential to comprehend the formation of the aesthetics of much of his later art. Significantly the underlying infrastructure remains fixed to old Master precedents and it was precisely these models of Renaissance and Baroque art which became the medium through which his mature synthesis was achieved.
2012-08-16T11:27:06Z
2012-08-16T11:27:06Z
2011-11-30
Thesis
http://hdl.handle.net/10023/3048
en
2024-09-06
Thesis restricted in accordance with University regulations. Electronic copy restricted until 6th September 2024. Images in electronic copy restricted permanently
523 p.
University of St Andrews
The University of St Andrews
oai:research-repository.st-andrews.ac.uk:10023/153192019-03-28T15:17:12Zcom_10023_36com_10023_12col_10023_43
Images of the Petrine era in Russian history painting
Gilchrist, Marianne McLeod
Lodder, Christina
Gapper Foundation
Gray Prize
‘Images of the Petrine Era in Russian History Painting’ examines the
changing iconography of Petr I (1672-1725) in nineteenth-century
Russian painting, and its relationship with Petr’s symbolic role in the
cultural debate between the Westernisers and the Slavophiles over the
interpretation of the Russian past and the direction of Russia’s future.
Artistic developments are discussed against a background of history,
historiography and literature. Paintings by Academic artists that were
produced as contributions to the official cult of Petr, fostered by Nikolai I,
are explored as expressions of aspects of the archetypal Hero. The
evolution of historical genre painting, and particularly the developments
introduced by Shvarts in the 1860s, are examined as a crucial component
of the context for the emergence of the Peredvizhniki.
The main focus of this study comprises the Realist history
paintings of the Peredvizhniki. The pursuit of historical truth, after
Aleksandr Il’s relaxation of censorship in the late 1850s, became a
significant factor in the application of Realism to history painting. The
treatment of Petrine themes by the Peredvizhniki in their First Exhibition
in 1871 is discussed in relation to the celebrations for Petr’s bicentenary
in 1872. Ge’s ‘Petr I interrogates Tsarevich Aleksei Petrovich at Peterhof’
is analysed in detail for its importance as the first treatment in a Realist
style of a controversial historical incident which was unfavourable to
Petr. Evidence, exemplified by Myasoedov’s ‘The Grandfather of the
Russian Fleet’, is brought forward which suggests continuities between
the Academy and the Peredvizhniki. The Peredvizhniki’s varied
approaches to Petrine themes are examined, emphasising the group’s lack
of ideological uniformity. History paintings are explored in their social
and cultural context, for instance, nineteenth-century depictions of
Tsarevna Sof’ya Alekseevna and the rise of Russian feminism, and the
effect of Surikov’s personal experience of cultural conflict on his works.
2018-07-12T14:39:59Z
2018-07-12T14:39:59Z
1994
Thesis
http://hdl.handle.net/10023/15319
en
338 p.
University of St Andrews
The University of St Andrews
oai:research-repository.st-andrews.ac.uk:10023/164962019-03-28T15:17:20Zcom_10023_36com_10023_12col_10023_43
Natalia Goncharova and Mikhail Larionov's neo-primitivist depictions of social outcasts in their thematic series of 1907-14
Kramer, Cheryl Ann
Lodder, Christina
Russell Trust
Gapper Charitable Trust
This study addresses the contemporary political and social issues
raised by the subject matter of Natalia Sergeevna Goncharova (1881-1962)
and Mikhail Fedorovich Larionov's (1881-1964) Neo-primitivist series of
1907-14. The ideological implications of the themes are explored, and it is
argued that their development of anti-heroes challenged the mores celebrated
by the status quo within Tsarist Russia.
Chapter I investigates the prevailing ideological climate and provides
a cultural and political contextual framework for the development of Neo-primitivism and the choice of subject matter. The subsequent chapters focus
upon specific thematic cycles. Chapter II argues that Larionov and
Goncharova's paintings on low-life and hooligan subject matter are anti-social works that undermine the affectations of the civilized behaviour
advanced by polite, urban society. Chapter III examines Larionov's prostitute
paintings and argues that the artist's unorthodox treatment of the nude
challenged the viewer's conception of the classical nude, prostitution and
sexuality, as well as the role of women within the Russian patriarchy.
Chapter IV argues that the cycle of paintings Goncharova devoted to
labouring peasants highlights the traditional way of rural life as a call for the
regeneration of contemporary society. Chapter V explores Larionov's soldier
series and argues that the artist debased traditionally revered sources to
produce coarse paintings that mock the soldier as a symbol of patriotism,
thereby satirizing the Tsarist regime. Chapter VI argues that Goncharova's
body of work on Jewish themes incorporate both anti-establishment and anti-assimilation statements.
This choice of themes countered established values, and this was
enhanced by their Neo-primitivist style. The artists confronted the viewer
with images grounded upon various contradictions that call the seemingly
disparate subject matter, the means of representation and the symbolism into
question. The anti-establishment ethos that underpins these works is central
to the understanding of Goncharova and Larionov's series of 1907-14.
2018-11-19T10:51:41Z
2018-11-19T10:51:41Z
2000-06-22
Thesis
http://hdl.handle.net/10023/16496
en
xxi, 293, [105] p.
University of St Andrews
The University of St Andrews
oai:research-repository.st-andrews.ac.uk:10023/138542023-06-19T10:21:13Zcom_10023_36com_10023_12col_10023_43
Ingenious Italians : immigrant artists in eighteenth-century Britain
McHale, Katherine Jean
Cassidy, Brendan
Italian
Art History
Britain
Artists
Sculptors
Painters
Eighteenth century
Culture
Society
Immigrants
Engravers
Architects
Grand Tour
Italian artists working in eighteenth-century Britain played a significant role in the
country’s developing interest in the fine arts. The contributions of artists arriving before
mid-century, including Pellegrini, Ricci, and Canaletto, have been noted, but the presence
of a larger number of Italians from mid-century is seldom acknowledged. Increasing
British wealth and attention to the arts meant more customers for immigrant Italian
artists. Bringing with them the skills for which they were renowned throughout Europe,
their talents were valued in Britain. Many stayed for prolonged periods, raising families
and becoming active members in the artistic community. In a thriving economy, they
found opportunities to produce innovative works for a new clientele, devising histories,
landscapes, portraits, and prints to entice buyers. The most successful were accomplished
networkers, maintaining cordial relationships with British artists and cultivating a variety
of patrons. They influenced others through teaching, through formal and informal
exchanges with colleagues, and through exhibition of their works that could be studied and emulated.
2018-06-08T13:50:29Z
2018-06-08T13:50:29Z
2018-06-28
Thesis
http://hdl.handle.net/10023/13854
en
2026-05-02
Thesis restricted in accordance with University regulations. Print and electronic copy restricted until 2nd May 2026
496 p.
University of St Andrews
The University of St Andrews
oai:research-repository.st-andrews.ac.uk:10023/34902019-07-01T10:11:40Zcom_10023_36com_10023_12col_10023_43
Furnishing Britain : Gothic as a national aesthetic, 1740–1840
Lindfield, Peter Nelson
Carruthers, Annette
Luxford, Julian
Medieval
Gothic
Architecture
Furniture
Architectural history
Horace Walpole
Strawberry Hill
Thomas Chippendale
Dumfries House
Blair Castle
Rococo
Rococo-Gothic
Rococo-Gothick
Gothick
Gothic Revival
Gothick Revival
Antiquarian
Antiquarianism
Collecting
Romantic
Eighteenth-century fashions
Eighteenth-century taste
Electronic version excludes material for which permission has not been granted by the rights holder
Furniture history is often considered a niche subject removed from the main discipline of art history, and one that has little to do with the output of painters, sculptors and architects. This thesis, however, connects the key intellectual, artistic and architectural debates surfacing in ‘the arts’ between 1740 and 1840 with the design of British furniture. Despite the expanding corpus of scholarly monographs and articles dealing with individual cabinet-makers, furniture making in geographic areas and periods of time, little attention has been paid to exploring Gothic furniture made between 1740 and 1840. Indeed, no body of research on ‘mainstream’ Gothic furniture made at this time has been published. No sustained attempt has been made to trace its stylistic evolution, establish stylistic phases, or to place this development within the context of contemporary architectural practice and historiography — except for the study of A.W.N. Pugin’s ‘Reformed Gothic’. Neither have furniture historians been willing to explore the aesthetic’s connection with the intellectual and sentimental position of ‘the Gothic’ in the period.
This thesis addresses these shortcomings and is the first to bridge the historiographic, cultural and architectural concerns of the time with the stylistic, constructional and material characteristics of Gothic furniture. It argues that it, like architecture, was charged with social and political meanings that included national identity in the eighteenth century — around a century before Charles Barry and A.W.N. Pugin designed the Palace of Westminster and prominently associated the Gothic legacy with Britishness.
2013-04-22T14:09:49Z
2013-04-22T14:09:49Z
2012-09
Thesis
http://hdl.handle.net/10023/3490
en
http://creativecommons.org/licenses/by-nc-nd/3.0/
Electronic copy of vol. 1 restricted until 6th November 2017. Electronic copy of vol. 2. restricted indefinitely
Thesis restricted in accordance with University regulations
Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported
2 v. (ix, 370, 517 p.)
University of St Andrews
The University of St Andrews
oai:research-repository.st-andrews.ac.uk:10023/107222023-03-21T12:40:12Zcom_10023_36com_10023_12col_10023_43
Paintings by numbers : applications of bivariate correlation and descriptive statistics to Russian avant-garde artwork
Strugnell, James Paul
Howard, Jeremy
Scottish Graduate School for Arts and Humanities (SGSAH)
Content analysis
Bivariate correlation
Statistics
Quantum mechanics
Russian avant garde
Quantitative
Art history
In this thesis artwork is defined, through analogy with quantum mechanics, as the conjoining of the nonsimultaneously measurable momentum (waves) of artwork-text (words within the primary sources and exhibition catalogues) with the position (particles) of artwork-objects (artist- productivity/exhibition-quantities). Such a proposition allows for the changes within the artwork of the Russian avant-garde to be charted, as such artwork-objects are juxtaposed with different artwork-texts from 1902 to 2009.
The artwork of an initial period from 1902 to 1934 is examined using primary-source artwork-text produced by Russian artists and critics in relation to the contemporaneous production-levels of various types of Russian-avant-garde artwork-objects. The primary sources in this dataset are those reproduced in the artwork-text produced by the 62 exhibitions described below, and those published in John E. Bowlt’s 1991 edition of Russian Art of the Avant-Garde: Theory and Criticism. The production of artwork in the latter period from 1935 to 2009 is examined through consecutive exhibitions, and the relationship between the artwork-text produced by these exhibitions and the artwork-objects exhibited at them. The exhibitions examined within this thesis are 62 containing Russian avant-garde artwork, held in Britain from 1935 to 2009.
Content analysis, using an indices-and-symptom analytical construct, functions to convert the textual, unstructured data of the artwork-text words to numerical, structured data of recording-unit weighted percentages. Whilst artist-productivity and exhibition-quantities of types of artwork-object convert the individual artwork-objects to structured data. Bivariate correlation, descriptive statistics, graphs and charts are used to define and compare relationships between: The recording units of the artwork-texts; the artist-productivity/ exhibition-quantities of types of artwork-objects; the structured artwork-text data and structured artwork-object data.
These various correlations between structured artwork-text data and structured artwork-object data are calculated in relationship to time (Years) to chart the changes within these relationships. The changes within these relationships are synonymous with changes within Russian avant-garde artwork as presented from 1902 to 1934 and within the 62 British exhibitions from 1935 to 2009. Bivariate correlations between structured artwork-texts data and structured artwork-objects data express numerically (quantitatively) the ineffable relationships formed over time by large sets of unstructured data in the continued (re)creation of artwork.
2017-05-08T11:48:49Z
2017-05-08T11:48:49Z
2017-06-22
Thesis
http://hdl.handle.net/10023/10722
https://doi.org/10.17630/10023-10722
en
http://creativecommons.org/licenses/by-nc-nd/4.0/
Electronic copy of Graph 3.1.3.1 is restricted permanently
Attribution-NonCommercial-NoDerivatives 4.0 International
Vol.1: 259 , Vol.2: 346
University of St Andrews
The University of St Andrews
oai:research-repository.st-andrews.ac.uk:10023/6112019-03-28T15:18:36Zcom_10023_600com_10023_12col_10023_601
The embroidered diplomacy:the symbolism of banners used in the inauguration ceremony of the Illirian-Rascian regiment in 1735.
Todorovic, Jelena.
University of St Andrews. School of Art History.
Jovanovic
Orthodox Serbs
regimental banners
Illirian – Rascian regiment
St John the Baptist
St Nicholas of Myra
Previously in the University eprints HAIRST pilot service at http://eprints.st-andrews.ac.uk/archive/00000384/
Article 6 of 7 in an issue devoted to the visual culture of Poland and Eastern Europe
This issue was sponsored by The Sikorski Polish Club and The Scottish Polish Cultural Association
Apart from more common forms of state aggrandisement, such as official portraiture, grand allegorical compositions and public monuments, ephemeral spectacles have played an important role in the formation of the state’s public image. This article will examine the political imagery created for an unusual patron, and used for an equally seldom discussed function. The objects of this discussion will be the emblematic decoration of banners, created as the main artefacts in a political spectacle devised by Vikentije Jovanovic (1731-1734), the Orthodox archbishop of Karlovci. The spectacle in question was the inauguration ceremony of the Illirian-Rascian regiment he founded in 1735.
2008-12-19T11:28:06Z
2008-12-19T11:28:06Z
2003
Journal article
Inferno: Journal of Art History Vol. 7 Article 6 2003
1355-5596
http://hdl.handle.net/10023/611
en
School of Art History, University of St Andrews
oai:research-repository.st-andrews.ac.uk:10023/279602023-08-11T09:47:20Zcom_10023_36com_10023_12col_10023_43
Title redacted
Mackenzie-Dodds, Ramsay Alan
Rider, Alistair
Marcaida López, José Ramón
Abstract redacted
2023-07-14T14:36:39Z
2023-07-14T14:36:39Z
2023-11-29
Thesis
http://hdl.handle.net/10023/27960
https://doi.org/10.17630/sta/548
en
http://creativecommons.org/licenses/by-nc-nd/4.0/
2028-07-13
Thesis restricted in accordance with University regulations. Restricted until 13th July 2028
Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International
240
The University of St Andrews
oai:research-repository.st-andrews.ac.uk:10023/118172019-09-30T09:59:24Zcom_10023_36com_10023_12col_10023_43
Carlos Cruz-Diez : from figuration to kineticism
Sassu Suarez Ferri, Natalia
Adamson, Natalie
Elizabeth Gilmore Holt Scholarship
Burnwynd History and Art Limited
The Venezuelan artist Carlos Cruz-Diez (b.1923) is an exemplar of modernism both in Europe and in Latin America. This thesis offers a broader understanding of his work by discussing his early paintings as a precedent to his more recognized production. Cruz-Diez’s chief aim as an artist is the liberation of colour, a process undertaken with the motivation of being part of art history, in an avant-garde quest for what his original contribution to art could be. Transition, interaction, colour, space and time: these are the crucial concepts of the work of Cruz-Diez investigated in this thesis and positioned in the Latin American/European and Kinetic/Optical context. Today, Cruz-Diez’s works from his first Physichromie (1959) onwards have been extensively explored both by him in numerous commentaries and by scholars. In contrast, only few works of the 1950s have been displayed and discussed. The key aspect of my argument is that 1959 is not an abrupt beginning to Cruz-Diez’s work but the conclusive stage of a ten-year process of transition from figuration to abstraction. I demonstrate that there is indeed a drawn-out “passage” made of readings and experiments, of “successes” and" “failures”. I argue that this “passage” is articulated along three parallel paths: 1) the detachment from naturalistic or figurative representation; 2) the detachment from the concept of colour as a synonym of pigment on a support; and 3) the shift in emphasis from a “passive” to an “active” spectator.
2017-10-09T13:25:17Z
2017-10-09T13:25:17Z
2015-04
Thesis
http://hdl.handle.net/10023/11817
en
Thesis restricted in accordance with University regulations. Print copy restricted until 30th October 2023. Electronic copy permanently restricted
VIII, 363 p.
University of St Andrews
The University of St Andrews
oai:research-repository.st-andrews.ac.uk:10023/31712022-05-04T13:40:27Zcom_10023_36com_10023_12col_10023_43
Graphic revolt! Scandinavian artists' workshops, 1968-1975 : Røde Mor, Folkets Ateljé and GRAS
Glomm, Anna Sandaker
Howard, Jeremy
Poster art in the twentieth-century
Political art
Propaganda
Social realism
Socialist realism
Røde Mor
GRAS
Folkets Ateljé
Norwegian twentieth-century art
Danish twentieth-century art
Swedish twentieth-century art
Scandinavian twentieth-century art
Pop art
Conceptual art
Figuration
Abstraction
1968
Popular movements
Transnational study
Op-art
EEC 1972
Communism and art
Marxist-Leninism and art
Underground and sub culture
1970s Scandinavia
Marxism and art
Grassroot movements
Collectivism
Graphic art
Silkscreen
Serigraphy
Lino-cuts
Offset print
Linoleum print
Atelier Populaire
Art Workers Coalition
Modernism
Postmodernism
Social art history
Russian avant garde poster art
Neo-avant garde
Activism and art
Comparative study of art
Non-figuration
Scandinavian 1968
European 1968
Political pop-art
Youth rebellion and uprising
Capitalism and art
Street art
Scandinavian model and art
Nordic model and art
Social democracy and art
Globalisation
Chinese Cultural Revolution
Third World and anti-imperialism
This thesis examines the relationship between the three artists’ workshops Røde Mor (Red Mother), Folkets Ateljé (The People’s Studio) and GRAS, who worked between 1968 and 1975 in Denmark, Sweden and Norway. Røde Mor was from the outset an articulated Communist graphic workshop loosely organised around collective exhibitions. It developed into a highly productive and professionalised group of artists that made posters by commission for political and social movements. Its artists developed a familiar and popular artistic language characterised by imaginative realism and socialist imagery. Folkets Ateljé, which has never been studied before, was a close knit underground group which created quick and immediate responses to concurrent political issues. This group was founded on the example of Atelier Populaire in France and is strongly related to its practices. Within this comparative study it is the group that comes closest to collective practises around 1968 outside Scandinavia, namely the democratic assembly. The silkscreen workshop GRAS stemmed from the idea of economic and artistic freedom, although socially motivated and politically involved, the group never implemented any doctrine for participation.
The aim of this transnational study is to reveal common denominators to the three groups’ poster art as it was produced in connection with a Scandinavian experience of 1968. By ‘1968’ it is meant the period from the late 1960s till the end of the 1970s. It examines the socio-political conditions under which the groups flourished and shows how these groups operated in conjunction with the political environment of 1968. The thesis explores the relationship between political movements and the collective art making process as it appeared in Scandinavia.
To present a comprehensible picture of the impact of 1968 on these groups, their artworks, manifestos, and activities outside of the collective space have been discussed. The argument has presented itself that even though these groups had very similar ideological stances, their posters and techniques differ. This has impacted the artists involved to different degrees, yet made it possible to express the same political goals. It is suggested to be linked with the Scandinavian social democracies and common experience of the radicalisation that took place mostly in the aftermath of 1968 proper. By comparing these three groups’ it has been uncovered that even with the same socio-political circumstances and ideological stance divergent styles did develop to embrace these issue.
2012-10-05T09:35:47Z
2012-10-05T09:35:47Z
2012-01
Thesis
http://hdl.handle.net/10023/3171
en
http://creativecommons.org/licenses/by-nc-nd/3.0/
Thesis restricted in accordance with University regulations. Electronic copy of Appendices restricted indefinitely
Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported
419
University of St Andrews
The University of St Andrews
School of Art History
oai:research-repository.st-andrews.ac.uk:10023/78612023-10-12T11:42:05Zcom_10023_36com_10023_12col_10023_43
Italy and Cyprus : cross-currents in visual culture (thirteenth and fourteenth centuries)
Andronikou, Anthi A.
Cassidy, Brendan
Southern Italy
Dugento and Trecento Italian art
Byzantine art
Italy
Cyprus
Mediterranean studies
'Crusader art'
This thesis sets out to probe the complex artistic contacts between Italy and Cyprus in the visual arts during the High and Late Middle Ages. The Introduction provides a critical review of the subject. Chapter I maps out the various types of links (with respect to trade, religion, warfare, art, culture) between Italy and Cyprus in the thirteenth and fourteenth centuries. Chapters II and III examine the multifaceted artistic negotiations between southern Italy (mainly Apulia) and Cyprus in the thirteenth century, by closely examining a cluster of frescoes and panel paintings. Through a set of historical, cultural and artistic (stylistic and iconographic) approaches, these chapters aim to supersede the somewhat limited style-oriented analyses of previous contributions to this area of study. The hitherto unverified and convoluted relations between the two regions are revisited and affirmed within a new conceptual framework. Chapters IV and V investigate fourteenth-century cross-currents as seen in two cases that have formerly occupied a marginal position in discussions of intercultural exchanges between Italy and Cyprus. The first is the transplantation and manifestation of the cult of Saint Thomas Aquinas in Cyprus, and the second, the hybrid series of icons created by Italian painters working on the island. Both cases are appraised as a record of historical realities and not as the by-products of casual encounters. The thesis historicises these contacts and in doing so, contributes to a broader understanding of cultural transmission and convergence in the Medieval Mediterranean.
2015-11-27T09:43:53Z
2015-11-27T09:43:53Z
2015-11-30
Thesis
http://hdl.handle.net/10023/7861
en
2025-10-28
Thesis restricted in accordance with University regulations. Print and electronic copy restricted until 28th October 2025
Vol. I: Text (376 pages), Vol. II: Illustrations (219 pages)
University of St Andrews
The University of St Andrews
School of Art History
oai:research-repository.st-andrews.ac.uk:10023/8352019-07-01T10:11:06Zcom_10023_36com_10023_12col_10023_43
Les yeux de la mémoire: the paintings of Maria Helena Vieira da Silva 1930-1946
Halkias, Maria
Adamson, Natalie
Surrealism
Memory
Electronic version excludes material for which permission has not been granted by the rights holder
This thesis examines the figurative work of Portuguese-born artist Maria Helena Vieira da Silva (1908-1992) completed between 1930 and 1946, in the cities of Paris, Lisbon and Rio de Janeiro.
This thesis divests Vieira’s work of the persistent formalist framework from within which her artistic production has thus far been examined. Unlike any previous study, it explores the artist’s paintings through specific themes, subjects and forms of expression. By uncovering these narrative premises, we are able to re-assess the overall significance and contribution of Vieira’s pre-war work to her post-war oeuvre. Moreover, the interpretative framework that develops from this account re-draws Vieira’s position within the modernist canon; contrary to prevalently held views, her work ceases to be autonomous from its cultural field. The historical awareness embedded in the artist’s choice of subjects and themes captures the significance of the moment in history in which these paintings were completed. Yet, a contextual examination of Vieira's work in relation to the major streams of thought of the twentieth century reflects its elusive aesthetic nature.
Each chapter examines specific themes and subjects. The first three chapters explore Vieira’s use of memory and the imagination through the expression of the child-like and the naïve, as ways to escape the mimesis of traditional painting. The introduction of these images alters the third person narrative quality of her work by bringing the artist’s perceptions to the forefront of her artistic production. The following three chapters explore Vieira’s subjective spatial quality, either through the use of linear formations of space, memory as projected on to urban landscapes, or simply by using her own image, in its numerous forms, as a spatial signifier.
Moreover, in identifying Vieira’s choice of themes and forms of expression, this study observes the cross-roads of creativity that modernism inspired, disclosing the richness and plurality of sources involved in the production of painting, including literature, print-making and film.
2009-12-11T12:51:22Z
2009-12-11T12:51:22Z
2009-06-25
Thesis
http://hdl.handle.net/10023/835
en
http://creativecommons.org/licenses/by-nc-nd/3.0/
Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported
186
University of St Andrews
The University of St Andrews
oai:research-repository.st-andrews.ac.uk:10023/6132019-03-28T15:18:37Zcom_10023_600com_10023_12col_10023_606
Karin Luts: an artist and her time.
Talvistu, Tiiu
University of St Andrews. School of Art History.
Previously in the University eprints HAIRST pilot service at http://eprints.st-andrews.ac.uk/archive/00000366/
Article 2 of 6 in an issue devoted to the visual culture of the Scandinavian and Baltic region
This article discusses Karin Luts, one of the first women artists to be trained in Estonia, she was among those who left Estonia in small boats on the eve of the Soviet invasion and started new lives in Sweden. She had to live through all the hardships and pains of moving to a new cultural environment, had to suffer losing her national identity, and find a new home and a new homeland. She left for good, never to return, not even when the political climate would have permitted it. Her relationship with Estonia was complicated and controversial, as was her relationship with Swedish culture and with the culture of her fellow refugees.
2008-12-19T12:03:27Z
2008-12-19T12:03:27Z
2003
Journal article
Inferno: Journal of Art History Vol. 8 Article 2 2003
1355-5596
http://hdl.handle.net/10023/613
en
School of Art History, University of St Andrews
oai:research-repository.st-andrews.ac.uk:10023/152632019-03-28T15:17:21Zcom_10023_36com_10023_12col_10023_43
White of Mckim, Mead and White
Wodehouse, Lawrence
Spencer, Robin
Stanford White, and Charles Follen McKim were the two major design contributors within the firm of McKim, Mead and White, and William Rutherford Mead was an invaluable organizer and administrator. There are major individual biographies of both McKim and White dating from 1929 and 1931 respectively, but both need updating with regard to the availability of additional research material and changing attitudes toward architectural design over the last hundred years. White's contribution was stylistically different from that of McKim and although the firm attracted at least 785 design com-missions covering all building types, there is a closer affinity stylistically, irrespective of building type, throughout White's work even though there is no evolved progression from one style to another. The Romanesque Revival style, for example, was utilized by White in early and late work and the Romantic-Classical revival used by White in 1890, was the style of his last work, the Prison Ship Martyrs Monument, Fort Greene, Brooklyn, N.Y., completed in 1908, two years after his death. "White of McKim, Mead and White," therefore, analyses White's work in relation to that of the firm as well as clients, builders, innovative specialists, fellow architects, artists and especially sculptors, Augustus Saint-Gaudens was a lifelong friend, and collaboration between White and Saint-Gaudens, plus a host of other notable contemporary sculptors provides two chapters. Three other chapters are devoted to stylistic developments in addition to another on his early offerings; a list of works is tabulated by building type after the bibliography.
2018-07-11T14:25:08Z
2018-07-11T14:25:08Z
1980
Thesis
http://hdl.handle.net/10023/15263
en
523 p.
University of St Andrews
The University of St Andrews
oai:research-repository.st-andrews.ac.uk:10023/25782019-03-28T15:15:30Zcom_10023_36com_10023_12col_10023_2577
Balcaskie House, Fife, and the early architecture of Sir William Bruce
Fitzalan Howard, Philip
Frew, John (John M.)
Chapter 1 attempts to place Bruce’s career in a political context and argues that Bruce may not have contributed as much to the Restoration of Charles II as has been suggested.
Chapter 2 examines Bruce’s education and the early influence on his architecture; and his first practical experience in Edinburgh and at Leslie House, Fife.
Chapter 3 assesses how much of Balcaskie House existed before Bruce bought the property in 1665.
Chapter 4 attempts to identify what Bruce added to Balcaskie by analysing the surviving building-accounts, concentrating on his remodelling of the interior, the gardens, and the rationalisation of the entrance front.
Chapter 5 examines what influence Bruce’s architecture had on his contemporaries, with special reference to Kinneil House.
I have written this dissertation first because I believe Balcaskie to have been neglected and underestimated by all architectural historians, and secondly in order to find out more about Bruce’s early life – and at the same time to question some of the assumptions which have been made about him. I conclude that Balcaskie may claim to be the first Scottish classical house.
2012-05-01T15:19:52Z
2012-05-01T15:19:52Z
1988
Thesis
http://hdl.handle.net/10023/2578
en
x, 154 p.
The University of St Andrews
oai:research-repository.st-andrews.ac.uk:10023/65022019-07-01T10:17:49Zcom_10023_36com_10023_12col_10023_43
Reading in the painted letter : human heads in twelfth-century English initials
Thompson, Jennifer A.
The thesis examines eight twelfth-century English manuscripts with inhabited initials
occupied by human heads. Such initials, also filled with foliage, struggling humans and
animals, are a pronounced feature of English Romanesque manuscript illumination.
Appearing after the Norman Conquest in manuscripts produced for ecclesiastical
communities as part of the Anglo-Norman emphasis on theological reading, inhabited
initials with human heads are the work of monastic and professional artists. An image
encountered by a monk or a canon while engaged in meditative reading known as the
lectio divina, the head assumes many delightful, evocative and inventive forms in
order to attract the attention of the ruminating reader. The thesis analyses the
application of a human head to an initial and sets initials into a framework of monastic reading in order to suggest ways in which audiences might have read these letters. Exploring the interaction between human heads and their surrounding texts, the thesis examines how inhabited initials function within selected twelfth-century English manuscripts. While some initials have been designed by the artist to hold specific meaning in relation to the text, others allow the reader to invest them with his own meaning. By creating a dialogue with the text that complements the reading process, the human heads in twelfth-century English initials may be regarded as text markers.
2015-04-16T13:56:33Z
2015-04-16T13:56:33Z
2000-10
Thesis
http://hdl.handle.net/10023/6502
en
http://creativecommons.org/licenses/by-nc-nd/4.0/
Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International
323
University of St Andrews
The University of St Andrews
oai:research-repository.st-andrews.ac.uk:10023/6122019-03-28T15:18:37Zcom_10023_600com_10023_12col_10023_606
Writers' Bloc: reading into late Soviet experience through Latvian artists' books.
Svede, Mark Allen.
University of St Andrews. School of Art History.
Soviet
Arnolds Zizins Strunke
Švabe Ārgalis Breže
Previously in the University eprints HAIRST pilot service at http://eprints.st-andrews.ac.uk/archive/00000364/
Article 1 of 6 in an issue devoted to Scandinavian and Baltic visual culture
This article focuses on book works by Latvian artists during the late-Soviet period, and also offers an initial discussion of the peculiarities of the Soviet publishing environment, as it existed shortly before the USSR’s annexation of Latvia at the end of World War II, and the roughly concurrent publication experiences of progressive artists in inter-bellum Latvia, the so-called First Republic.
During its heyday in the 1960s and 70s the artist’s book was hailed by many practitioners in the West as the superlative democratic art form, due to the hypothetical possibility of the widespread ownership of the art object. An examination of how artist-authored books developed amid Latvian society's repeated, abrupt transitions between democracy and totalitarianism during the past century may further illuminate this concept of a democratic art medium.
2008-12-19T11:54:00Z
2008-12-19T11:54:00Z
2003
Journal article
Inferno: Journal of Art History Vol. 8 Article 1 2003
1355-5596
http://hdl.handle.net/10023/612
en
School of Art History, University of St Andrews
oai:research-repository.st-andrews.ac.uk:10023/272002023-12-01T11:28:28Zcom_10023_36com_10023_12col_10023_43
Resisting overdetermination, destabilising representation : African American artists performing for the camera since the 1970s
Majewska, Martyna Ewa
Spencer, Catherine
Carnegie Trust for the Universities of Scotland
Performance art
Performativity
Photography
Video art
Abstraction
Identity politics
American art
Racism
Institutional critique
Representation
Lyle Ashton Harris
Adrian Piper
Glenn Ligon
Senga Nengudi
Maren Hassinger
Howardena Pindell
David Hammons
Pope.L
This thesis posits performance for the camera, exemplified by selected practices of contemporary African American artists, as a means of exploring the construction and fixation of identities and a strategy for dismantling hegemonic conceptions of race and gender. Studying the work of Adrian Piper, Glenn Ligon, Lyle Ashton Harris, Senga Nengudi, Maren Hassinger, Howardena Pindell, David Hammons and Pope.L, it examines the ways in which these artists incorporate embodied performance and personal information into their practices simultaneously foreclosing autobiographical readings and challenging interpretations overdetermined by race, gender and sexuality. In these practices, the image production of performance engages in dialogues with existing representations, highlighting the limited capacity of photographic imagery – and representation more broadly – to give voice to individual positionalities and nonconformist sensibilities. Shedding light on discords between individual and group representations, especially in the wake of the civil rights movement and second-wave feminism, the artists in question gestured towards artistic explorations that decades later became codified as a novel genre of post-black art. These artists destabilised the performative agency of performing for the camera, revealing the biases and abstractions inherent to photographic and video processes. Artistic methodologies examined in this thesis deny photographic technologies of reproduction their often assumed transparency, calling into question the role of the camera as a transmitter of historical and personal truths. Finally, analyses comprising this thesis point to the use of performance-generated images as critiques of entrenched racial biases of camera technologies. This thesis constitutes an intervention into dominant theories of performance, its mediation and mediatisation, and exposes their imbrication in white, Western, neoliberal viewpoints. It argues that the selected practices offer innovative approaches to embodiment, representation, abstraction and performativity – approaches that have been overlooked in theoretical scholarship due to their overdetermination with race and ethnicity.
2023-03-16T12:22:41Z
2023-03-16T12:22:41Z
2022-06-16
Thesis
http://hdl.handle.net/10023/27200
https://doi.org/10.17630/sta/350
en
2027-05-06
Thesis restricted in accordance with University regulations. Restricted until 6th May 2027
368
The University of St Andrews
oai:research-repository.st-andrews.ac.uk:10023/185622019-09-25T14:53:50Zcom_10023_36com_10023_12col_10023_43
Title redacted
Crosbie, Meredith
Moretti, Laura
Gladys Krieble Delmas Foundation
University of St Andrews. School of Art History
2019-09-25T14:34:05Z
2019-09-25T14:34:05Z
2017-06-22
Thesis
http://hdl.handle.net/10023/18562
en
2020-05-04
Thesis restricted in accordance with University regulations. Print and electronic copy restricted until 4th May 2020
434 p.
University of St Andrews
The University of St Andrews
oai:research-repository.st-andrews.ac.uk:10023/64812019-03-28T15:17:22Zcom_10023_36com_10023_12col_10023_43
Rural nostalgia : painting in Scotland c.1860-1880
Morrison, John
Spencer, Robin
A work of "rural nostalgia" is a distorted image of a past, or passing rural existence produced in the period c.1860-1880. It is distorted in such a way as to heighten the emotional impact of the work and to emphasize the inherent moral message carried by the painting. This message is always the same. In precisely the same terms as contemporary commentators, the painters lauded those aspects of human existence thought to be essential for a humane civilised society and felt to be being destroyed by the urbanisation of man. Hence family life, the home and community life were praised. Along with individual human relationships, society's provision of both temporal and religious education were seen as vital. These linked factors, so prevalent in rural life. were thus also frequently portrayed, praised and give an implicitly rural setting.
The ambivalent response to their industrial society of mid-Victorian Scots. themselves engaged in commerce and industry, found expression in the work of artists such as G.P. Chalmers and George Reid. In effect the collectors of rural nostalgia. convinced of the educative role of art, sought to promote a more responsible, caring, society through their purchasing and subsequent lending out of rural nostalgia paintings.
The paintings themselves. though heavily imbued with the spirit of contemporary Calvinist Scotland, were philosophically influenced by John Ruskin and by French "Realist" writing and criticism. They were practically influenced by nineteenth century Dutch painting.
The significance of the painters of rural nostalgia lies not in their formal innovations, though they were technically of considerable importance to the later "Glasgow School", it lies in the alternative view they afford of the motivations and concerns of the patrons and practitioners of painting in Scotland in the third quarter of the nineteenth century.
2015-04-15T12:34:39Z
2015-04-15T12:34:39Z
1989-06
Thesis
http://hdl.handle.net/10023/6481
en
545
University of St Andrews
The University of St Andrews
oai:research-repository.st-andrews.ac.uk:10023/183032020-02-20T12:03:55Zcom_10023_36com_10023_12col_10023_43
Paul Sandby and Scotland
Christian, Jessica
2019-08-13T12:09:48Z
2019-08-13T12:09:48Z
1989
Thesis
http://hdl.handle.net/10023/18303
en
University of St Andrews
The University of St Andrews
oai:research-repository.st-andrews.ac.uk:10023/6222019-03-28T15:18:38Zcom_10023_600com_10023_12col_10023_607
Saint Peter and Paul Church (Sinan Pasha Mosque), Famagusta: a forgotten Gothic moment in Northern Cyprus.
Walsh, Michael.
University of St Andrews. School of Art History.
Cyprus
Gothic
Lusignan
Conservation
Saint Peter Paul
Famagusta
Architecture
Medieval
Previously in the University eprints HAIRST pilot service at http://eprints.st-andrews.ac.uk/archive/00000392/
Article 5 of 6 in an issue devoted to the visual culture of South Eastern Europe
This article presents a very brief historical overview, and contemporary description, of the Church of Saint Peter and Saint Paul, Famagusta, Northern Cyprus. In the light of the changing political situation in that island it invites scholarship in a range of disciplines to the church and to other historic landmarks within the old city walls. Scholars interested might include: art historians, architectural historians, civil engineers, archivists, historians, structural analysts, masonry conservators, surveyors, ecclesiastical historians, and a wider range of experts involved in the full study of other Gothic churches elsewhere in mainland Europe
2008-12-19T14:51:32Z
2008-12-19T14:51:32Z
2004
Journal article
Inferno: Journal of Art History Vol. 9 Article 5 2004
1355-5596
http://hdl.handle.net/10023/622
en
School of Art History, University of St Andrews
oai:research-repository.st-andrews.ac.uk:10023/6942023-10-03T11:05:28Zcom_10023_36com_10023_12col_10023_43
The brothel-without-walls : twentieth century photography and the presentation of prostitution
Maddox, Amanda
Normand, Tom
This dissertation examines the interconnected visualization of fantasy, obscenity, and
eroticism in twentieth-century photographs of prostitution and the sex industry. Using
definitions of eroticism coined by Roland Barthes, Judith Butler, Roger Scruton and Georges
Bataille, and multiple interpretations of the obscene by various art historians including Lynda
Nead, Kerstin Mey, and Matthew Kieran, I analyze how and why these themes emerge vis-à-vis three specific sexualized, fantasized figures: the underground, clandestine prostitute of the
early 1900s; the empowered stripper/sex worker; the orientalized prostitute. Through
analysis of five different photographic albums produced between 1912 and 1995, I
demonstrate that photography operates as a strategy of regulation and reform, a means of
constructing the prostitute as a permissible figure of representation by taming and shaping the
connotations of eroticism, obscenity, and fantasy that shroud her. Through three chapters I
show how eroticism and obscenity are visualized, how fantasy is fuelled by concealment,
how notions of power/knowledge influence the display of eroticism and obscenity, and how
differences (based upon gender, morality, sexuality, race, and culture) determine and regulate
what one sees of prostitution in photography.
My examination begins with the photographs of E.J. Bellocq and Brassaï, both of whom
photograph an underground network of prostitution and capture prostitutes as figments of
eroticized imagination. The second chapter continues to explore the construction of fantasy,
but concentrates on the influence of gender and sexual difference as they reinforce and
disempower the fantasy images of female prostitutes. These ideas are approached through
the work of Susan Meiselas, who presents strippers and dominatrices as ‘real,’ powerful
subjects. The final chapter considers the intersection of gender difference with colonial or
cultural difference in photographs of prostitutes from India. Images by Mary Ellen Mark are
offset by postcolonial theories of Orientalism and stereotype to reveal how and why
prostitutes are orientalized – othered, made inferior, and typed – and how that oriental fantasy
confirms the regulatory and illusive power of the image.
2009-06-02T14:28:47Z
2009-06-02T14:28:47Z
2007
Thesis
http://hdl.handle.net/10023/694
en
Permanently embargoed
Thesis under permanent embargo in accordance with University regulations.
165
University of St Andrews
The University of St Andrews
oai:research-repository.st-andrews.ac.uk:10023/151292019-03-28T15:17:23Zcom_10023_36com_10023_12col_10023_43
A study of the major public museums in Taiwan, with a focus on collections care
Lu, Ying-hsiu
Carradice, Ian
The origins of museum development in Taiwan date back to the late nineteenth century; however, little was achieved until recently because of Taiwan's unstable social and political situation in the early to mid-twentieth century. People outside Taiwan's major cities had very few opportunities to enjoy museums or other cultural services and facilities; and providing the public with such services and facilities was not considered as important as national economic and industrial construction in the viewpoint of Taiwan's government. But now the situation has changed. According to official statistics published by the Council for Cultural Planning and Development, the central government's cultural policy maker, Taiwan's museums have quadrupled within the last two decades: in 1970 there were only 30 museums in Taiwan, but in 1993 this number had grown to 121. This statistic not only shows that the museum industry has become prosperous, with more and more museums, both public and independent, being founded in recent years, but also that people in Taiwan now have more opportunities to enjoy such facilities and services. This thesis begins with an introduction to the history of museum development in China and Taiwan, followed by a discussion of the current museum system in Taiwan. Having been ignored for a long time by the government, Taiwan's museum system is usually considered unsound by local artists and professionals in related fields, Public museums in Taiwan have always been operated as social educational organisations and there is a concern that more laws regarding museum management should be enacted in Taiwan. For purposes of comparison, Japan's museum system and cultural policy are also discussed. Both countries have been at the forefront of Asia's booming economy, so the comparison might be useful in identifying the strengths and weaknesses of Taiwan's museum system and may provide a model for its future development. The last part of the thesis focuses on the care of collections at the six major public museums in Taiwan. As the conservation/care of museum collections has become a major issue world-wide in recent years, it is interesting to see what has been achieved in Taiwan and what the government's attitude towards conservation has been.
2018-07-09T13:23:58Z
2018-07-09T13:23:58Z
1997
Thesis
http://hdl.handle.net/10023/15129
en
152 p.
University of St Andrews
The University of St Andrews
oai:research-repository.st-andrews.ac.uk:10023/57702019-07-01T10:14:13Zcom_10023_36com_10023_12col_10023_43
Museum communication : learning, interaction and experience
Nielsen, Jane K.
Weiss, Ulrike Elisabeth
Museum communication
Museum interaction
Museum participation
Museum learning
Museology
Storytelling
Futurology
Epistemology
'Museum Communication: Learning, Interaction and Experience' is a study of how museums have evolved and handled their communication approaches at both theoretical and practical levels. It discusses questions like; how has museum communication developed? What influences do these developments have on museology and its related disciplines? How will museum communication develop in the future? These are questions closely connected with essential concepts of learning, interaction, participation and experience, which will be discussed throughout the thesis. Learning and exhibition theories will be considered alongside discussions of epistemological and philosophical approaches, interpretation, and social development of museological research. The research forms a discourse analysis of museums’ own views and opinions of these issues through replies of a questionnaire. It also focuses on specific case studies and examples in order to combine theoretical definitions and empirical approaches with museological developments. To form a deeper understanding of how museological communication is developing, the research includes interviews with professionals of philosophy and storytelling as well. Finally, the approaches are summarised in a new museum model developed from future studies. This model, called 'The Transformative Museum', identifies essential points in which museums have developed their communication practices and theories, and discusses how these may develop in the future. As the responsibilities of museum curators develop, museums have to embrace the concepts of transformation and flexibility too. Inquiries, research, learning and participation have to be transformed into all kinds of experiences in order to respond to changing needs and flexible structures of communities and societies. The transformative museum will have to acknowledge past traditions, current trends and future opportunities simultaneously in order to become a museum of both present and future relevance for all kinds of visitors and users.
2014-11-14T11:24:27Z
2014-11-14T11:24:27Z
2014-12-01
Thesis
http://hdl.handle.net/10023/5770
en
http://creativecommons.org/licenses/by-nc-nd/4.0/
Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International
344
University of St Andrews
The University of St Andrews
oai:research-repository.st-andrews.ac.uk:10023/210382021-08-14T11:06:09Zcom_10023_36com_10023_12col_10023_43
Opus anglicanum : the visual language, liturgical rituals, and gifting of a medieval English brand
Grub, Valentina Susanne
Rudy, Kathryn M.
Opus anglicanum
Medieval textiles
Vestments
Embroidery
Medieval embroidery
Historic textiles
Medieval gifts
Brand
Liturgical rituals
In 1246, when Pope Innocent IV saw embroidered copes and mitres which were made in England, he exclaimed; “England is for us surely a garden of delights, truly an inexhaustible well; and from there where so many things abound...” Embroidery made between 1200-1350 in England, known as opus anglicanum, was internationally recognized, traded, gifted, collected, and coveted. The technical skill combined with a distinct aesthetic resulted in an iconic textile brand. Though first described as a brand in the context of contemporary imitated textiles, I extend this understanding by close visual analyses and archival readings.
“Opus anglicanum: The Visual Language, Liturgical Rituals, and Gifting of a Medieval English Brand” argues for a quadripartite examination of the opus anglicanum brand, grounded in luxury brand theory. I articulate the technical and aesthetic hallmarks of the brand by examining archival records of embroiderers and the specific aspects of their work which differentiated opus anglicanum from other contemporary textile decorations. I then evaluate the opus anglicanum brand aesthetic by a close visual reading of its background designs and popular motifs, through which emerges the enduring relationship between manuscript illumination and embroidery design. As the majority of extant opus anglicanum textiles are ecclesiastic vestments, I then assess these textiles in the context of contemporary liturgical writings and rituals. As archival evidence indicates, opus anglicanum textiles were often presented as gifts. Therefore, I conclude by studying the effect of medieval English embroidery in the context of gift-giving rituals. This dissertation, while grounded in both medieval and modern scholarship, reevaluates these textiles and argues that the enduring legacy of opus anglicanum is due to its identity as a medieval brand.
2020-11-23T10:36:23Z
2020-11-23T10:36:23Z
2020-12-02
Thesis
http://hdl.handle.net/10023/21038
https://doi.org/10.17630/sta/8
en
http://creativecommons.org/licenses/by-nc-nd/4.0/
2025-07-17
Thesis restricted in accordance with University regulations. Print and electronic copy restricted until 17th July 2025
Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International
256 p.
University of St Andrews
The University of St Andrews
oai:research-repository.st-andrews.ac.uk:10023/128072021-03-23T10:24:10Zcom_10023_36com_10023_12col_10023_43
Competing constructions of nature in early photographs of vegetation : negotiation, dissonance, subversion
Labo, Nora
Gartlan, Luke
University of St Andrews. 600th Anniversary Scholarship
History of photography
Environmental history
Nineteenth-century photography
Botanical photography
Colonial history
Colonial photography
French photography
Belgian photography
Brazilian photography
History of the Amazon region
Barbizon school
Early environmentalism
Second Empire France
Amazonian rubber boom
Plants in photography
Fontainebleau
Belgium
Brazil
Amazon
Tropical representations
Tropics
Ecology
Jean Massart
Jacques Huber
Nature as spectacle
Hierarchies of nature
Exoticism
Nature conservation
Visual studies
Critique of anthropocentrism
Étude d'après nature
Colonial science
Familiarity
Banality
Resistances to ideology
Palm trees
Weeds
Botany
Tourism
Photography and painting
While the role of photography in enforcing hegemonic ideologies has been amply
studied, this thesis addresses the under-researched topic of how photography undermined
dominant narratives in specific historical circumstances. I argue that, in the later part of
the long nineteenth century, photographs were used to represent the natural world in
contexts where their functions were uncertain and their capacities not clearly defined, and
that these hesitations allowed for the expression of resistances to dominant social
attitudes towards nature.
I analyse how these divergences were articulated through three independent case
studies, each addressing a corpus of photographs which has been marginalised in
scholarly discourse. The case studies all concern photographs of vegetation. The first one
discusses photographs produced around Fontainebleau during the Second French
Empire, commonly understood as auxiliary materials for Barbizon painters, and argues
that they were in fact autonomous representations, reflecting marginal modes of
experiencing nature which resisted its prevailing construction as spectacle. The second
case study examines a photographic series depicting Amazonian vegetation, published
between 1900 and 1906, and shows how, in attempting to satisfy conflicting ideological
demands, these photographs undermined the hierarchies enforced upon the natural world
by colonial science. The third case study analyses photographs from an early twentieth-century
environmentalist treatise, and demonstrates how, while the author's discourse
seemingly complied with conventional attitudes towards nature, the photographs
instituted an ethical stance opposed to early conservation's aesthetic focus and
anthropocentrism.
Throughout the case studies, I argue that the photographs were consubstantial to
the emergence of these resistances; that dissenting representations stemmed from a
tension between their producers' lived experience and the ideological frameworks which
informed each context; and that this process engendered remarkable formal innovations,
which are not usually associated to non-artistic images. I contend that radical renewals of
visual expression occur in all representational contexts, as image producers adapt their
tools or forge new ones according to circumstances, and that more attention must be paid
to such visual innovations outside the field of artistic production.
2018-02-27T14:47:51Z
2018-02-27T14:47:51Z
2018-06-28
Thesis
http://hdl.handle.net/10023/12807
https://doi.org/10.17630/10023-12807
en
2023-01-15
Thesis restricted in accordance with University regulations. Print copy restricted until 15th January 2020. Electronic copy restricted until 15th January 2023
431 pages: 10 unnumbered pages + 352 pages body of thesis (1-352) + 69 pages appendix (i-lxix)
University of St Andrews
The University of St Andrews
School of Art History
oai:research-repository.st-andrews.ac.uk:10023/5282019-07-01T10:04:19Zcom_10023_36com_10023_12col_10023_43
Architectural expansion and redevelopment in St. Andrews, 1810-c1894
Evetts, Robin Dennis Alexander
Frew, John (John M.)
This thesis documents the five principal areas of architectural development in St Andrews from 1810 to c1894. The Overview examines the factors for change and pattern of expansion, and identifies education, recreation and retirement as the three main pillars of the expanding economy. Part One comprises a detailed examination of the circumstances surrounding the rebuilding of the United College, and extension to the University Library from 1810 to 1854. Part Two examines in equal detail the establishment and erection of the Madras College during the 1830s. Parts Three and Four are concerned with the development of two completely new areas of middle class housing; the 'new town' to the west, and 'Queen's Park' to the south. The stylistic shift from classicism to romanticism implicit in these schemes is highlighted by the new baronial Town Hall. The development of the Scores on the town's northern boundary constitutes Part Five. This is divided on a thematic and chronological basis into four sections, identifying issues relevant to changes of style and building type. The final section re-examines the reasons for the town's expansion and redevelopment, and concludes with observations on the relationship between (a), local and non-local architectural practices; (b), developments within the building community; and (c), the sometimes contradictory attitudes inherent in the creation of nineteenth century St Andrews, particularly in relation to surviving mediaeval remains.
2008-07-22T14:47:40Z
2008-07-22T14:47:40Z
1988
Thesis
http://hdl.handle.net/10023/528
en
http://creativecommons.org/licenses/by-nc-nd/3.0/
Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported
xxxix, 505 p., 315 p. of plates
University of St Andrews
The University of St Andrews
oai:research-repository.st-andrews.ac.uk:10023/194272021-02-16T12:21:24Zcom_10023_36com_10023_12col_10023_43
Light, intermediality, and sensory perception in Francis Bruguière's abstract photographs and films (1921-1936)
Adlhoch, Kristen Ann
Adamson, Natalie
Wilhelmina Barns-Graham Charitable Trust
University of St Andrews. Wilhelmina Barns-Graham Fellowship
University of Arizona. Center for Creative Photography. Josef Breitenbach Research Fellowship
Terra Foundation for American Art
Russell Trust. Postgraduate Travel Award
Sutherland Page Trust
Elizabeth Gilmore Holt Scholarship
University of St Andrews. Discretionary Fund
Abstract photographs were a key site of the re-evaluation of photography’s ontology
between the First and Second World Wars, bringing to the forefront questions of
objectivity, legibility and the photograph’s essential nature. Bridging avant-garde art
practices with literature, philosophy, and new technologies, artists sought to articulate
and explore the boundaries of traditional modes of sensory experience by employing
synaesthesia, “intermedia,” and the creative capacities of light.
This study explores art practices in which abstraction interrogated the formal qualities
and theoretical conceptions of photography, through an examination of Francis
Bruguière’s (b. San Francisco, 1879-1945) photographs and films made between circa
1921-1936. Bruguière used a wide range of techniques to undermine the verisimilitude
of the photographic medium, and frequently used his images in intermedial
collaborations, which drew upon techniques and theories from the fields of theatre,
film, psychology, and literature. Through a detailed examination of examples of
Bruguière’s photographs and collaborative projects, this dissertation demonstrates the
ways in which abstract photography was implicated in a broader desire amongst the
avant-garde to re-evaluate modes of embodied perception and multi-sensory
experience.
Chapters examine the reception of Alvin Langdon Coburn’s (1882-1966) abstract
“vortograph” series (1917), the light art of Thomas Wilfred (1889-1968), the history
and historiography of abstract photography, and the broader spectrum of intermedial
experiments with light. Bruguière’s collaborative projects, which paired abstraction
with theatre, literature and film, and his exploration of the plastic qualities of light are
scrutinised. Archival materials and primary sources inform the analysis of Bruguière’s
work and the channels of dissemination of these new modes of expression. This revised
and more inclusive contextualisation of abstract photography moves the discussion
away from formalist interpretations of the medium, instead focussing analysis on
broader practices of artistic production across media in the modern era.
2020-02-07T15:08:58Z
2020-02-07T15:08:58Z
2020-06-25
Thesis
http://hdl.handle.net/10023/19427
https://doi.org/10.17630/10023-19427
en
2022-08-01
Thesis restricted in accordance with University regulations. Print and electronic copy restricted until 1st August 2022
xv, 288 p.
University of St Andrews
The University of St Andrews
oai:research-repository.st-andrews.ac.uk:10023/152492019-03-28T15:17:26Zcom_10023_36com_10023_12col_10023_43
The theme of the Wise and Foolish Virgins as part of the Last Judgement iconography in Flanders and Italy in the late 15th and the 16th centuries
Alexander, Josephine Mary
Steer, John R.
The parable of the Wise and Foolish Virgins is told in Matthew's Gospel, Ch.25, v1-13, as an allegory of the Last Judgement. This thesis sets out to examine firstly, how closely the parable is related to the iconography of the Last Judgement in the art of the 15th and 16th centuries; secondly to demonstrate how its interpretation came to be broadened by association with other biblical themes, themselves part of the Last Judgement iconography. Part I traces the origins and development of the theme from early Christian times to the 15th century. In these early sources the artistic tradition of linking the parable to the Last Judgement was first established; the Wise and Foolish Virgins were also linked with Ecclesia and Synagogue and with the Virtues and Vices; and the typological tradition of biblical illustration broadened the theme further by pairing it with other biblical feasts. Appendix I is a handlist of the Wise and Foolish Virgins up till the late 15th century and it illustrates how popular the theme had become by the Middle Ages. Part II treats the parable in the late 15th and the 16th centuries. Chapter I looks at examples of Wise and Foolish Virgins in prints and drawings in the early years of the 16th century, and demonstrates how the virgins were treated individually, how the theme was secularised and tended to degenerate, sometimes into mere costume studies of contemporary, fashionably-dressed maidens; sometimes into rather sensual nudes. Chapter II shows the theme restored to its original biblical context by Netherlandish artists; while Chapter III examines how later Northern artists, greatly influenced by contemporary drama and philosophy, bestowed upon the theme certain wider interpretations and depicted it with strong moral and didactic overtones. Chapter IV examines the contributions of Hans Eworth, Marten de Vos, and Crispin de Passe the Elder to the theme, and shows how the ideas of both the Renaissance and Reformation influenced these artists in their portrayals of the Wise and Foolish Virgins. Chapter V treats the theme as it appeared in Italian art - notably in renderings by Parmigianino and Tintoretto. Chapter VI draws conclusions and sees the theme essentially as a mirror reflecting the social, philosophical and religious climate in 16th century Europe. Finally, a handlist of the Wise and Foolish Virgins in the late 15th and the 16th centuries concludes the study.
2018-07-11T13:13:13Z
2018-07-11T13:13:13Z
1981
Thesis
http://hdl.handle.net/10023/15249
en
176 p.
University of St Andrews
The University of St Andrews
oai:research-repository.st-andrews.ac.uk:10023/153302019-03-28T15:17:26Zcom_10023_36com_10023_12col_10023_43
Scottish masonic furniture
Jackson, Stephen
Jones, David
Regional Furniture Society
Tom Ingram Memorial Fund
This thesis will identify and describe a distinct furniture sub-group previously largely unknown. Chests, chairs, pedestals and other items from all over Scotland, surveyed by the author, will be related to the aims, purposes and social character of Scottish freemasonry. The focus will be on the period 1730-1840 although developments since 1840 will also be discussed. The individual circumstances surrounding production together with the relationship between producers and consumers of this furniture will be investigated, documentary evidence being utilised where possible. The emblematic content of the furniture will be analysed with reference to the mythology and iconography of freemasonry. Comparisons will be made with two groups of related material; English masonic furniture and the Scottish trade incorporation Deacon's chair. It will be argued that the contrasts between Scottish and English masonic furniture embody distinctions between English and Scottish freemasonry as much as distinctions between two nations. Freemasonry was in part a product of the culture of the trade incorporation yet comparisons of Master's chairs with Deacon's chairs will demonstrate the divergence that took place between the two institutions during the eighteenth century. The majority of the items surveyed are chairs and consequently the masonic Master's chair will be considered as a ceremonial, and on occasion, commemorative chair. In conclusion, this thesis will contend that, while masonic furniture in Scotland, and by extension throughout the United Kingdom, forms a coherent furniture sub-group, the form and style of such furniture varied greatly and that at no time did there exist an independent masonic style.
2018-07-12T15:49:25Z
2018-07-12T15:49:25Z
1996
Thesis
http://hdl.handle.net/10023/15330
en
171 p.
University of St Andrews
The University of St Andrews
oai:research-repository.st-andrews.ac.uk:10023/257712023-06-14T14:48:57Zcom_10023_36com_10023_12col_10023_43
The digital medieval manuscript : approaches to digital codicology
Van Haaren, Suzette
Rudy, Kathryn M.
Rijksuniversiteit Groningen
University of St Andrews. St Leonard's College
Vereniging Rembrandt. Claudine de With Beurs
Stichting Art, Books and Collections
Prins Bernhard Cultuurfonds (Amsterdam, Netherlands)
Manuscript studies
Art history
Digitisation
Digital media studies
Digital medieval manuscript
Medieval manuscript
Manuscript digitisation
Heritage digitisation
Digital materiality
Material culture studies
Materiality
Libraries and collections
This thesis explores how digitisation affects the way we perceive, handle, encounter, keep, preserve, and understand medieval manuscripts. With digitisation gaining ever-more importance, today, we encounter medieval manuscripts mostly in their digital form. This study reflects on how medieval manuscripts function and move as cultural (devotional, historical, archival, heritage) objects in an increasingly digital culture.
Chapter 1 comprises a theoretical and methodological framework which discusses relevant ideas about codicology, (digital) materials and materiality, reproduction and copying. This thesis uses digital codicology to analyse the core case studies’ material elements, its place as cultural object and carrier of knowledge and tradition, and its position in history, in relation to the physical manuscript.
Chapter 2 explores the Bury Bible (CCCC, ms. 2) and looks into how the digital facsimile is made and what digitisation practices mean for how the Bury Bible is revealed to or obscured for the audience in digital space. The chapter considers how the manuscript’s material properties are presented the digital object, and what this brings to light about its intellectual, cultural and institutional contexts.
Chapter 3 looks at a Der naturen bloeme manuscript (KB, KA16), focusing on the ways in which digitisation facilitates fragmentation and the hyper-expansion of the manuscript, fostering re-use and appropriation in social media environments. The chapter thinks about how the digital manuscript functions in larger cultural narratives and how it is used once it enters seemingly unbound digital space.
Chapter 4 details the prayer book of Mary of Guelders (SBB-PK, ms. germ. qu. 41 and ÖNB, cod. 1908) explores ideas about fragility, looking at how the manuscript is sustained in digital space, and how, in turn, the fragile material of the digital object is often disregarded. It studies the relationship between digitisation and preservation practices, and how this affects meaning and value we ascribe to the manuscript and the digital facsimile.
2022-08-04T11:52:28Z
2022-08-04T11:52:28Z
2022-06-16
Thesis
http://hdl.handle.net/10023/25771
https://doi.org/10.17630/sta/188
40016097/MAK/ILE (PBC scholarship)
en
2027-04-04
Thesis restricted in accordance with University regulations. Restricted until 4th April 2027
ix, 322 p.
The University of St Andrews
University of Groningen
oai:research-repository.st-andrews.ac.uk:10023/6192019-03-28T15:18:38Zcom_10023_600com_10023_12col_10023_607
The wall painting of the Chapel-martyrium Motsameta in the rock–cut monastery complex of Udabno David–Gareji.
Khoshtaria, Tinatin.
University of St Andrews. School of Art History.
Georgia
Chubinashvili
eleventh century
thirteenth century
Previously in the University eprints HAIRST pilot service at http://eprints.st-andrews.ac.uk/archive/00000390/
Article 2 of 6 in an issue devoted to the visual culture of South Eastern Europe
Among the numerous churches of the monasteries of Gareji, there is situated at the top of a mountain in west of the mine complex, the little church of the Forty Martyrs, or Motsameta. The paintings of this chapel-martyrium, Motsameta, have special significance in the study of the Garejian painting school. In the Gareji desert there were other martyriums, in Sabereebi, Bertubani and Tsamebuli for example, but paintings are rarely found in these edifices. Martyriums were painted more commonly in Byzantium than in Georgia. Thus the church of Motsameta is a rare example of a Georgian painted martyrium. Its further study, particularly with the aim of establishing parallels with similar medieval European monuments, is very important.
2008-12-19T14:06:48Z
2008-12-19T14:06:48Z
2004
Journal article
Inferno: Journal of Art History Vol. 9 Article 2 2004
1355-5596
http://hdl.handle.net/10023/619
en
School of Art History, University of St Andrews
oai:research-repository.st-andrews.ac.uk:10023/6142019-03-28T15:18:37Zcom_10023_600com_10023_12col_10023_606
Jüri Okas’ ‘specific objects’: diverging discourses in Estonian Art in the 1970s.
Kurg, Andres.
University of St Andrews. School of Art History.
Estonia
conceptualism
minimalism
Donald Judd
Robert Smithson
EKE project
Robert Venturi
Previously in the University eprints HAIRST pilot service at http://eprints.st-andrews.ac.uk/archive/00000367/
Article 3 of 6 in issue devoted to the visual culture of the Scandinavian and Baltic region.
This article will look at the early works of Estonian architect and artist Jüri Okas and will try to work between diverging languages and interpretations, reading works by Okas against the background of Anglo-american conceptualism and minimalism of the same period. The first part of the paper will analyse a print by Jüri Okas that paraphrases works by the American artist Donald Judd and will try to show how Okas’ concept of minimalism differed from the Western one and the reasons behind it. The second part of the paper will focus on a conceptual book by Jüri Okas, consisting of a series of photographs of everyday and banal architectural objects, and compare it to Rober Venturi’s book on Complexity and Contradiction in Architecture. Finally, a comparison will be made with works of Robert Smithson in the context of concepts of waste, excess and the remainders of industrial civilisation
2008-12-19T12:22:48Z
2008-12-19T12:22:48Z
2003
Journal article
Inferno: Journal of Art History Vol. 8 Article 3 2003
1355-5596
http://hdl.handle.net/10023/614
en
School of Art History, University of St Andrews
oai:research-repository.st-andrews.ac.uk:10023/144832019-03-28T15:17:27Zcom_10023_36com_10023_12col_10023_43
The Office of Works and the renovation of the Scottish Universities 1808-
Grant, David
Walker, David
This thesis is in four parts and documents the redevelopment in the nineteenth century of the dilapidated University buildings of St.Andrews, Glasgow and King's and Marischal Colleges at Aberdeen. The period under examination dates from 1808 through to the Scotland (University) Act of 1889. The areas researched included the reasons why the University authorities failed to keep their buildings in good repair and the steps taken by their governing bodies to rectify the situation. It was found this problem was caused by a continuing yearly fall in their income and it was imperative that government funding was made available to alleviate the situation. Similarly researched in detail was the part played by the Office of Works in Scotland along with the private architects who were responsible for the rehabilitation of the old buildings and the erection of new purpose built accommodation. Part One looks at the historical background leading to the formation of the Scottish Office of Works in January, 1827 and its subsequent downgrading to that of a regional office of the Office of Woods and Forests in 1840. The Office of Woods and Forests was under the control of H.M. Treasury until 1857 when a major change took place with the appointment of a First Commissioner of Works responsible to parliament. Parts Two, Three and Four, examine the situation relevant to each individual University and College. Their protracted negotiations with the Treasury are highlighted, as are the subsequent delays in releasing the necessary funding, due in some measure to the bureaucracy of the period. The review of the building process is completed by examining the details surrounding the appointment of the architects and contractors involved in the construction of these new buildings. By mid century architects were having to cope with new technological advances, new materials, new methods of construction and new revived architectural styles which are dealt with in the text.
2018-06-22T14:54:03Z
2018-06-22T14:54:03Z
2002
Thesis
http://hdl.handle.net/10023/14483
en
515 p.
University of St Andrews
The University of St Andrews
oai:research-repository.st-andrews.ac.uk:10023/64472019-07-01T10:12:59Zcom_10023_36com_10023_12col_10023_43
Art and identity : a social psychological study of stereotypical beliefs about women artists and women’s art and the discursive identities of arts professionals and promoters of women’s art
Dunnett, Anne S.W.L.
Prescott, Robert
The thesis is a social psychological study of beliefs about women artists and women's art. It is argued that the work of women artists is systematically undervalued in society and it is also argued that people's beliefs about women artists, and their attitudes towards women's art, are stereotypical. People are shown to have stereotyped beliefs about women artists and it is argued that stereotypes comprise the cognitive component of people's attitudes towards women's art. An argument is then presented that the origins of stereotypes can be found in social identity and personal identity. The conclusion is drawn that
people's social identities and personal identities influence their views on women
artists and their attitudes towards women's art, as represented by the stereotypical
belief component of those attitudes. The results of an analytic survey are then
presented in support of this claim. The survey findings show that two social
identity factors, feminism and gender, and one personal identity factor, sex-role
categorisation, influence people's beliefs about women artists and women's art. Having established that people's views on women artists and their work are stereotypical, the thesis then moves on to consider what effect this has on the sense of self of a group of arts professionals. An argument is presented that, in order to accomplish this task, it is necessary to replace survey methodology with discourse analysis techniques. Analyses are then presented of a set of interviews with arts professionals and those involved in promoting women's art. The results of these analyses show that the subjects are able to employ discursive accounts in order to preserve a positive sense of identity in the face of possible challenges to their sense of self In the final chapter, some concluding comments are offered on the advantages associated with adopting a mixed-methodology approach of this
kind.
2015-04-08T12:28:54Z
2015-04-08T12:28:54Z
1998-10
Thesis
http://hdl.handle.net/10023/6447
en
http://creativecommons.org/licenses/by-nc-nd/4.0/
Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International
240
University of St Andrews
The University of St Andrews
oai:research-repository.st-andrews.ac.uk:10023/152652019-03-28T15:17:28Zcom_10023_36com_10023_12col_10023_43
The architecture of Nikolai L'vov : a study of the architectural relationships between Britain and Russia at the end of the eighteenth century
Makhrov, Alexei Vasilievich
Howard, Jeremy
Russell Trust
Gapper Foundation
Cookie Matheson Trust
The thesis offers a reassessment of the works of the Russian architect Nikolai Alexandrovich L'vov (1751-1803). His designs are examined in the context of European architecture. Sources of inspiration for his advanced Neo-Classical style are found in monuments of Greek and Roman antiquity, Renaissance architecture and works of British, French and Italian architects, such as Charles Cameron, Adam Menelaws, Ennemond-Alexandre Petitot and Giacomo Quarenghi. The comparative analysis of L'vov's works with designs of his Russian and foreign contemporaries, for instance Matvei Kazakov, Adrean Zakliai'ov, John Soane, Claude-Nicolas Ledoux and others, highlights the innovative character of L'vov's designs. The investigation of the works produced by L'vov for Catherine the Great, Paul I and the powerful statesman Alexander Bezborodko demonstrates that the architect was entrusted to express political concepts, such as the 'Greek Project', Catherine's plan to liberate Constantinople from the Turks. It is argued that his public buildings and garden scenery of the park of Bezborodko in Moscow were designed as propaganda tools to influence people. The discussion focuses on the consideration of L'vov's interpretation of the ideas derived from European architecture. For example, L'vov was the first Russian architect to declare himself a follower of Palladio. The pioneering study of the Medieval architecture of Moscow produced by L'vov was parallel to the development of the preservationist attitude to national heritage in Britain. He produced ingenious engineering ideas, such as that of the double-shelled dome influenced by the examples of antique and French architecture and adapted to the requirements of Russian climate. He also introduced to Russia the modernised method of building from earth, derived from a French source and modified with the assistance of his Scottish associates. By analysing the relationships between the architecture of L'vov and that of Britain and other European countries, this study seeks to establish his reputation as one of the outstanding European architects of the late eighteenth century.
2018-07-11T14:45:25Z
2018-07-11T14:45:25Z
1998
Thesis
http://hdl.handle.net/10023/15265
en
2 v, (376 p, 128 p)
University of St Andrews
The University of St Andrews
oai:research-repository.st-andrews.ac.uk:10023/162992019-03-28T15:15:35Zcom_10023_36com_10023_12col_10023_2577
T.J. Honeyman : policies towards the popularization of art and the Glasgow Art Gallery and Museum, Kelvingrove
Millar, Anne Marie
Normand, Tom
The thesis will examine Dr. T. J. Honeyman's policies
towards the popularization of art and of the Glasgow Art
Gallery and Museum, Kelvingrove. From 1939-1954, Honeyman
was the Director of the Art Gallery and Museum, and during
this period devoted all his efforts towards helping the
public gain a basic understanding of art appreciation. By
increasing the public's awareness of art he hoped not only
to increase their interest and support in the Fine Arts but
in the Arts in general. His ultimate goal was to create a
revival in Glasgow's artistic culture and increase its
status in national and international art circles.
Within his capacity as director he created three roles
for himself - that of publicist, educationalist, and
purveyor of ideas. Working within these roles enabled him
to maximize the full resources available to him as a
director, and through them to stimulate the artistic culture
in Glasgow.
Honeyman was attempting to popularize art in the
Glasgow Art Gallery and Museum. He resisted the widespread
belief that "fine art" was a middle class phenomenon and
devised a program aimed at the demystification of art, thus
allowing everyone the opportunity to broaden their
appreciation and increase their personal growth.
The thesis is composed of three chapters and deals with
each role respectively. Within each role, the relevant
mechanisms set up by Honeyman to institute his policies on
popular art are addressed and examined. Demonstrating how
these mechanisms were utilized is essential to understanding
how he fulfilled his purpose to popularize art and enliven
the city's artistic culture.
2018-10-22T16:02:29Z
2018-10-22T16:02:29Z
1992-09-30
Thesis
http://hdl.handle.net/10023/16299
en
134 p.
The University of St Andrews
oai:research-repository.st-andrews.ac.uk:10023/144892019-03-28T15:17:29Zcom_10023_36com_10023_12col_10023_43
The art of Arthur Boyd
Spens, Janet McKenzie
Arthur Boyd (1920-1999) presents art historians with an exceptionally complex critical dimension in terms of his position in twentieth century painting. Although he is considered to be one of the most distinguished Australian painters of the century, in terms of the originality and accomplishment exhibited over five decades (the other being Sir Sidney Nolan O.M,.R.A.), Boyd has been, to date, ill-served by contemporary historians. The earlier definitive publication, by Franz Philipp was published in London as early as 1967. There was subsequently a relatively brief study by Dr Ursula Hoff (1986). In both cases the research was valuable, given the social and cultural climate of each respective period, but their conclusions demand revision in the present perspective. Boyd's completed oeuvre is now open to revisionary analysis in art historical terms, in the light of evolving and more demanding criteria with respect to a properly contemporary social and cultural perspective. My work was in large part complete by 1996, after which the artist suffered terminally from a physically and mentally debilitating condition ; he died three years later. In a radical reappraisal I have accordingly reviewed the chronological progression of his work in various media. This is charted and analysed in terms of its transition from the relatively benign landscape and figurative subject material in the prewar period , then following the trauma of world war a transformation into a more psychologically riven genre of allegorical departures from harmony and visual cohesion; to work driven by global knowledge of atrocity and deprivation. As the postwar work developed, the artist's imagery reflected a deliberate level of appropriation of subject and composition. An awareness of European narrative painting grew at first hand, deployed by him subsequently to develop content via specific collaborations in graphic work, with established scholars and poets. In the 1960s and 1970s Boyd successfully evolved, with his exceptional technical proficiency and draughtmanship, a model whereby religious or historical narrative text was combined with an expanding repertoire of Boyd imagery. I have explored this process and its results to find an original connectivity not previously evaluated. This examines the development of the oeuvre as between thematic content and its expression through Boyd's personal language in painting. Of particular significance I have reappraised Boyd's Bride paintings of the 1950s in the light of the Human Rights and Equal Opportunity Commission's report, Report of the National Inquiry into the Separation of Aboriginal and Torres Strait Islander Children from their Families, (1997). In doing so Boyd can be seen as both a courageous and a highly original artist who sought to expose the ills of society through painting. At the same time his work is the product of the ignorance of white Australians in their comprehension of the plight of Australia's dispossessed Indigenous race. These social aspects are here exposed for the first time in my conclusions as essential to the complete reappraisal of Arthur Boyd's ultimate standing in terms of present day critique.
2018-06-22T15:23:11Z
2018-06-22T15:23:11Z
2002
Thesis
http://hdl.handle.net/10023/14489
en
370 p., 91 p. of plates
University of St Andrews
The University of St Andrews
oai:research-repository.st-andrews.ac.uk:10023/278462023-06-30T20:45:21Zcom_10023_36com_10023_12col_10023_43
'Calligraphies of time' : the bombsite in the cultural imaginary of post-war Britain
Jain, Isabelle Nicole
Spencer, Catherine
Adamson, Natalie
Carnegie Trust for the Universities of Scotland
British Art
Bombsite
Post-War
Reconstruction
On 8 May 1945, Allied forces announced the unconditional surrender of Nazi Germany, marking the official end of the Second World War and igniting VE Day celebrations across Britain. The atmosphere throughout the country was electrifying; enormous crowds gathered in Piccadilly Circus in London’s city centre, as seen in iconic photographs of a sea of people around the Shaftesbury Memorial Fountain – popularly known as ‘Eros’ – with people scaling lampposts and even London buses. The mood was one of jubilation, relief, and disbelief: a collective sense of having escaped death. Soon, however, the air of celebration wore off. The people of Britain stepped out of their homes, free, but around them they saw destroyed cities – London, Birmingham, Coventry, Hull – landscapes bearing scars and craters left by bombs that had taken homes and lives. Although the war itself was over, life was now marked by the backdrop of the ever-present bombsite – some of which were left uncleared for decades – and anxieties around how to rebuild. This thesis examines the cultural significance of the bombsite in art and visual culture produced between 1945 and 1969 in Britain. Specifically, it considers how artists and practitioners responded to the material conditions of the bombsite, not its representation per se. I distinguish the bombsite from the ruin: ruins were sites to preserve, memorialise, intwined with the histories of the past. Bombsites, on the other hand, were temporally unstable, constantly shifting in their definition. Moving away from the idea that the bombsite was a wasteland, or a space of nothingness, I offer a nuanced, localised account of artistic and communal engagements with these sites. Each of the four chapters in this thesis demonstrates a different response to the bombsite. Some were retrogressive, shoring up traditional art practices in the face of trauma and destruction. Others were more radical, experimental, and politically and socially motivated. What emerges from a chronological development of this material is that the bombsite prompted responses that looked both forwards and backwards in time, producing a longer, more conflicted view of the post-war period. Instead of a linear progression from ruin to reconstruction, the works of art and visual culture I discuss illustrate how processes of decay and rebuilding were deeply entangled.
2023-06-29T10:52:25Z
2023-06-29T10:52:25Z
2023-11-29
Thesis
http://hdl.handle.net/10023/27846
https://doi.org/10.17630/sta/524
1
en
http://creativecommons.org/licenses/by-nc-nd/4.0/
2028-06-22
Thesis restricted in accordance with University regulations. Restricted until 22nd June 2028
Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International
363
The University of St Andrews
oai:research-repository.st-andrews.ac.uk:10023/6102019-03-28T15:18:36Zcom_10023_600com_10023_12col_10023_601
The Idea of Sacrum in Polish Art of the 1980s
Gralinska-Toborek, Agnieszka.
University of St Andrews. School of Art History.
Polish art
1980's
Sacrum
Bogucki
Asram Anavim Foundation
Tchórzewski
Gierowski
Bereś
Gruppa
Rumas
Article 4 of 7 in an issue devoted to the visual culture of Poland and Eastern Europe
This issue was sponsored by The Sikorski Polish Club and the Scottish Polish Cultural Association
Previously in the University eprints HAIRST pilot service at http://eprints.st-andrews.ac.uk/archive/00000387/
Polish art of the 1980s was in a period of transition from modernism to postmodernism. Theoretical debates and disputes concerning both of these terms and their interrelations are still going on.
However, the goal of this article will be to portray the specific character of Polish art in the 1980s in relation to the problem of sacrum. Spiritual and metaphysical themes were present in post-war avant-garde work, but it was only in the art of the 1980s that there was a real explosion of interest in such ideas. The term sacrum is drawn from the phenomenology of religion, and means sanctity, a sphere of meeting deity with believer (sacer, sacra, sacrum in Latin – devoted to God).
2008-12-19T11:13:22Z
2008-12-19T11:13:22Z
2003
Journal article
Inferno: Journal of Art History Vol. 7 Article 4 2003
1355-5596
http://hdl.handle.net/10023/610
en
School of Art History, University of St Andrews
rdf///com_10023_12/100