http://hdl.handle.net/10023/36 Wed, 17 Apr 2013 19:17:36 GMT 2013-04-17T19:17:36Z http://hdl.handle.net/10023/3469 Abstract: This thesis examines a thirty year span in the history of Scottish photography, focusing on the rise of the commercial studio from 1851 to assess how images were produced and consumed by the middle class in the mid-Victorian period. Using extensive archival material and a range of theoretical approaches, the research explores how photography was displayed, circulated, exploited and discussed in Scotland during its nascent years as a commodity. In doing so, it is unlike previous studies on Scottish photography that have not attended to the history of the medium as it is seen through exhibitions or the national journals, but instead have concentrated on explicating how an individual photographer or singular set of images are evidence of excellence in the field. While this thesis pays close attention to individual projects and studios, it does so to illuminate how photography functioned as a material object that equally shaped and was shaped by ideological constructs peculiar to mid-Victorian life in Scotland. It does not highlight particular photographers or works in order to elevate their standing in the history of photography but, rather, to show how they can be used as examples of a class phenomenon and provide an analytical frame for elucidating the cultural impact of commercial photography. Therefore, while the first two chapters provide a panoramic view of how photography was introduced to the Scottish middle class and how commercial photographers initially visualized Scotland, the second section is comprised of three ‘case studies’ that show how the subject of the city, the landscape and the portrait were turned into objects of cultural consumption. This allows for a re-appraisal of photographs produced in Scotland during this era to suggest the impact of photography’s products and processes was as vital as its visual content. Fri, 30 Nov 2012 00:00:00 GMT http://hdl.handle.net/10023/3469 2012-11-30T00:00:00Z Laurence-Allen, Antonia This thesis examines a thirty year span in the history of Scottish photography, focusing on the rise of the commercial studio from 1851 to assess how images were produced and consumed by the middle class in the mid-Victorian period. Using extensive archival material and a range of theoretical approaches, the research explores how photography was displayed, circulated, exploited and discussed in Scotland during its nascent years as a commodity. In doing so, it is unlike previous studies on Scottish photography that have not attended to the history of the medium as it is seen through exhibitions or the national journals, but instead have concentrated on explicating how an individual photographer or singular set of images are evidence of excellence in the field. While this thesis pays close attention to individual projects and studios, it does so to illuminate how photography functioned as a material object that equally shaped and was shaped by ideological constructs peculiar to mid-Victorian life in Scotland. It does not highlight particular photographers or works in order to elevate their standing in the history of photography but, rather, to show how they can be used as examples of a class phenomenon and provide an analytical frame for elucidating the cultural impact of commercial photography. Therefore, while the first two chapters provide a panoramic view of how photography was introduced to the Scottish middle class and how commercial photographers initially visualized Scotland, the second section is comprised of three ‘case studies’ that show how the subject of the city, the landscape and the portrait were turned into objects of cultural consumption. This allows for a re-appraisal of photographs produced in Scotland during this era to suggest the impact of photography’s products and processes was as vital as its visual content. http://hdl.handle.net/10023/3332 Abstract: St Andrews Cathedral is located on the East Coast of Scotland, construction started in 1160 and spanned Romanesque and Gothic architectural styles. It was consecrated in 1318, four years after the battle of Bannockburn in the presence of King Robert the Bruce. For several hundred years, the Cathedral was one of the most important religious buildings in Europe and the centre of religious life in Scotland. During the Scottish Reformation, John Knox lead reformers in divesting the Cathedral of much of its finery. Thereafter it fell into disuse and decline. Today the impressive remains only hint at the former glory of this important building. Cultural Heritage encompasses physical aspects such as architecture and artifacts along with less tangible culture such as music, songs and stories. Open virtual worlds offer an extensible collaborative environment for developing historic scenes against the background of which material and ephemeral aspects of cultural heritage associated with a site may be explored through engagement with historic narratives. They offer the potential to reconstruct within a 3D computer environment both the physical structures of the past and important aspects of the light, music and life that once filled those structures. Virtual reconstructions enable scenarios to be created where individual pieces of art can be located and appreciated within the audio, visual and spacial contexts for which they were originally created. Bringing together architecture, sculpture, illumination, stained-glass, music, procession and lighting into a scene which can be explored from multiple spatial perspectives enables holistic experience and appreciation. Historic reconstructions may be created upon virtual stages allowing new and engaging Cultural Heritage perspectives to be accessible to diverse audiences. Through the example of St Andrews Cathedral reconstruction this paper presents an example of Open Virtual Worlds as a technology for supporting the creation and use of virtual reconstructions as a platform that promotes understanding of and engagement with Cultural Heritage. The use contexts discussed range from research based exploration of 3D spaces, to primary schools students using the reconstructions as a backdrop for tag. The digital literacies of the audience and goals of the use case impact on the appropriateness of the user interface. A range of interfaces are explored including games controllers, touch screens, tablets that provide location aware views into the model and hands free gesture control systems. Sat, 01 Dec 2012 00:00:00 GMT http://hdl.handle.net/10023/3332 2012-12-01T00:00:00Z Kennedy, Sarah Dow, Lisa Oliver, Iain Angus Sweetman, Rebecca Jane Miller, Alan Henry David Campbell, Anne Davies, Christopher John McCaffery, John Philip Allison, Colin Green, Daryl Luxford, Julian Marcus Fawcett, Richard St Andrews Cathedral is located on the East Coast of Scotland, construction started in 1160 and spanned Romanesque and Gothic architectural styles. It was consecrated in 1318, four years after the battle of Bannockburn in the presence of King Robert the Bruce. For several hundred years, the Cathedral was one of the most important religious buildings in Europe and the centre of religious life in Scotland. During the Scottish Reformation, John Knox lead reformers in divesting the Cathedral of much of its finery. Thereafter it fell into disuse and decline. Today the impressive remains only hint at the former glory of this important building. Cultural Heritage encompasses physical aspects such as architecture and artifacts along with less tangible culture such as music, songs and stories. Open virtual worlds offer an extensible collaborative environment for developing historic scenes against the background of which material and ephemeral aspects of cultural heritage associated with a site may be explored through engagement with historic narratives. They offer the potential to reconstruct within a 3D computer environment both the physical structures of the past and important aspects of the light, music and life that once filled those structures. Virtual reconstructions enable scenarios to be created where individual pieces of art can be located and appreciated within the audio, visual and spacial contexts for which they were originally created. Bringing together architecture, sculpture, illumination, stained-glass, music, procession and lighting into a scene which can be explored from multiple spatial perspectives enables holistic experience and appreciation. Historic reconstructions may be created upon virtual stages allowing new and engaging Cultural Heritage perspectives to be accessible to diverse audiences. Through the example of St Andrews Cathedral reconstruction this paper presents an example of Open Virtual Worlds as a technology for supporting the creation and use of virtual reconstructions as a platform that promotes understanding of and engagement with Cultural Heritage. The use contexts discussed range from research based exploration of 3D spaces, to primary schools students using the reconstructions as a backdrop for tag. The digital literacies of the audience and goals of the use case impact on the appropriateness of the user interface. A range of interfaces are explored including games controllers, touch screens, tablets that provide location aware views into the model and hands free gesture control systems. http://hdl.handle.net/10023/3331 Abstract: "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. Fri, 30 Nov 2012 00:00:00 GMT http://hdl.handle.net/10023/3331 2012-11-30T00:00:00Z Shannon, Elizabeth J. "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. http://hdl.handle.net/10023/3171 Abstract: 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. Sun, 01 Jan 2012 00:00:00 GMT http://hdl.handle.net/10023/3171 2012-01-01T00:00:00Z Glomm, Anna Sandaker 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. http://hdl.handle.net/10023/3048 Abstract: 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. Wed, 30 Nov 2011 00:00:00 GMT http://hdl.handle.net/10023/3048 2011-11-30T00:00:00Z Roncone, Natalie Maria 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. http://hdl.handle.net/10023/3047 Abstract: This study is an art history of Santa Maria dei Carmini, Venice, from its foundation in c. 1286 to the present day, with a special focus on the late Renaissance period (c. 1500-1560). It explores a relatively overlooked corner of Renaissance Venice and provides an opportunity to study the Carmelite Order’s relationship to art. It seeks to answer outstanding questions of attribution, dating, patronage, architectural arrangements and locations of works of art in the church. Additionally it has attempted to have a diverse approach to problems of interpretation and has examined the visual imagery’s relationship to the Carmelite liturgy, religious function and later interpretations of art works. Santa Maria dei Carmini was amongst the largest basilicas in Venice when it was completed and the Carmelites were a major international order with a strong literary tradition. Their church in Venice contained a wealth of art works produced by one of the most restlessly inventive generations in the Western European tradition. Chapter 1 outlines a history of the Carmelites, their hagiography and devotions, which inform much of the discussion in later chapters. The second Chapter discusses the early history of the Carmelite church in Venice, establishing when it was founded, and examining the decorative aspects before 1500. It demonstrates how the tramezzo and choir-stalls compartmentalised the nave and how these different spaces within the church were used. Chapter 3 studies two commissions for the decoration of the tramezzo, that span the central period of this thesis, c. 1500-1560. There it is shown that subjects relevant to the Carmelite Order, and the expected public on different sides of the tramezzo were chosen and reinterpreted over time as devotions changed. Cima da Conegliano’s Adoration of the Shepherds (c. 1511) is discussed in Chapter 4, where the dedication of the altar is definitively proven and the respective liturgy is expanded upon. The tradition of votive images is shown to have influenced Cima’s representation of the donor. In Chapter 5 Cima’s altarpiece for the Scuola di Sant’Alberto’s altar is shown to have been replaced because of the increasing ambiguity over the identification of the titulus after the introduction of new Carmelite saints at the beginning of the century. Its compositional relationship to the vesperbild tradition is also examined and shown to assist the faithful in important aspects of religious faith. The sixth chapter examines the composition of Lorenzo Lotto’s St Nicholas in Glory (1527-29) and how it dramatises the relationship between the devoted, the interceding saints and heaven. It further hypothesises that the inclusion of St Lucy is a corroboration of the roles performed by St Nicholas and related to the confraternity’s annual celebrations in December. The authorship, date and iconography of Tintoretto’s Presentation of Christ (c. 1545) is analysed in Chapter 7, which also demonstrates how the altarpiece responds to the particular liturgical circumstances on the feast of Candlemas. The final chapter discusses the church as a whole, providing the first narrative of the movement of altars and development of the decorative schemes. The Conclusion highlights the important themes that have developed from this study and provides a verdict on the role of ‘Carmelite art’ in the Venice Carmini. Wed, 30 Nov 2011 00:00:00 GMT http://hdl.handle.net/10023/3047 2011-11-30T00:00:00Z Hammond, Joseph This study is an art history of Santa Maria dei Carmini, Venice, from its foundation in c. 1286 to the present day, with a special focus on the late Renaissance period (c. 1500-1560). It explores a relatively overlooked corner of Renaissance Venice and provides an opportunity to study the Carmelite Order’s relationship to art. It seeks to answer outstanding questions of attribution, dating, patronage, architectural arrangements and locations of works of art in the church. Additionally it has attempted to have a diverse approach to problems of interpretation and has examined the visual imagery’s relationship to the Carmelite liturgy, religious function and later interpretations of art works. Santa Maria dei Carmini was amongst the largest basilicas in Venice when it was completed and the Carmelites were a major international order with a strong literary tradition. Their church in Venice contained a wealth of art works produced by one of the most restlessly inventive generations in the Western European tradition. Chapter 1 outlines a history of the Carmelites, their hagiography and devotions, which inform much of the discussion in later chapters. The second Chapter discusses the early history of the Carmelite church in Venice, establishing when it was founded, and examining the decorative aspects before 1500. It demonstrates how the tramezzo and choir-stalls compartmentalised the nave and how these different spaces within the church were used. Chapter 3 studies two commissions for the decoration of the tramezzo, that span the central period of this thesis, c. 1500-1560. There it is shown that subjects relevant to the Carmelite Order, and the expected public on different sides of the tramezzo were chosen and reinterpreted over time as devotions changed. Cima da Conegliano’s Adoration of the Shepherds (c. 1511) is discussed in Chapter 4, where the dedication of the altar is definitively proven and the respective liturgy is expanded upon. The tradition of votive images is shown to have influenced Cima’s representation of the donor. In Chapter 5 Cima’s altarpiece for the Scuola di Sant’Alberto’s altar is shown to have been replaced because of the increasing ambiguity over the identification of the titulus after the introduction of new Carmelite saints at the beginning of the century. Its compositional relationship to the vesperbild tradition is also examined and shown to assist the faithful in important aspects of religious faith. The sixth chapter examines the composition of Lorenzo Lotto’s St Nicholas in Glory (1527-29) and how it dramatises the relationship between the devoted, the interceding saints and heaven. It further hypothesises that the inclusion of St Lucy is a corroboration of the roles performed by St Nicholas and related to the confraternity’s annual celebrations in December. The authorship, date and iconography of Tintoretto’s Presentation of Christ (c. 1545) is analysed in Chapter 7, which also demonstrates how the altarpiece responds to the particular liturgical circumstances on the feast of Candlemas. The final chapter discusses the church as a whole, providing the first narrative of the movement of altars and development of the decorative schemes. The Conclusion highlights the important themes that have developed from this study and provides a verdict on the role of ‘Carmelite art’ in the Venice Carmini. http://hdl.handle.net/10023/2974 Abstract: 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. Tue, 01 Jan 1991 00:00:00 GMT http://hdl.handle.net/10023/2974 1991-01-01T00:00:00Z 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. http://hdl.handle.net/10023/2946 Abstract: 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. Sun, 01 Jan 1989 00:00:00 GMT http://hdl.handle.net/10023/2946 1989-01-01T00:00:00Z Humphreys, Charlotte M. 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. http://hdl.handle.net/10023/2928 Abstract: This thesis arose from a need for a re-evaluation of opus Anglicanum, a somewhat discounted art form which was nevertheless central to the cultural output of medieval England. It is concerned with looking closely at a couple of important aspects. First, the available evidence is considered, with a view to exploring whether long-held assumptions about the subject can actually be substantiated; second, a detailed study of iconography is made, in an attempt to find an explanation for particular choices. Among the extant English medieval ecclesiastical embroideries the great copes, covering the period from c1270 to c1330, offer the most fruitful opportunities for study. Thus, the focus is on these for general concerns and for more particular issues four "narrative" copes have been examined in detail. Early assessment of the gamut of imagery disclosed certain striking features--the individuality and doctrinal exactitude of the various iconographic programmes, the singular absence of some central theological themes and the ubiquitous nature of the angelic presence among the representations--which indicated lines of enquiry and determined the parameters of study. In the course of laying out the evidence such primary sources as there are, are reviewed and assumptions regarding possible workshop practices and issues of patronage are examined. On the technical side, the manufacture of these precious embroideries is explored and the vexed question of who was responsible for the designs is considered. The findings reveal that, contrary to widely held opinion, the luxury copes were liturgical vestments, with a crucial role to play both within the service and the meaning of the High Mass itself The cherished belief that the twenty processional vestments which are known today represent a mere fraction of the original output is challenged and a diametrically opposed view is put forward - that what there is, is the greatest part of what there was. Sun, 01 Jan 1995 00:00:00 GMT http://hdl.handle.net/10023/2928 1995-01-01T00:00:00Z Linnell, Christine This thesis arose from a need for a re-evaluation of opus Anglicanum, a somewhat discounted art form which was nevertheless central to the cultural output of medieval England. It is concerned with looking closely at a couple of important aspects. First, the available evidence is considered, with a view to exploring whether long-held assumptions about the subject can actually be substantiated; second, a detailed study of iconography is made, in an attempt to find an explanation for particular choices. Among the extant English medieval ecclesiastical embroideries the great copes, covering the period from c1270 to c1330, offer the most fruitful opportunities for study. Thus, the focus is on these for general concerns and for more particular issues four "narrative" copes have been examined in detail. Early assessment of the gamut of imagery disclosed certain striking features--the individuality and doctrinal exactitude of the various iconographic programmes, the singular absence of some central theological themes and the ubiquitous nature of the angelic presence among the representations--which indicated lines of enquiry and determined the parameters of study. In the course of laying out the evidence such primary sources as there are, are reviewed and assumptions regarding possible workshop practices and issues of patronage are examined. On the technical side, the manufacture of these precious embroideries is explored and the vexed question of who was responsible for the designs is considered. The findings reveal that, contrary to widely held opinion, the luxury copes were liturgical vestments, with a crucial role to play both within the service and the meaning of the High Mass itself The cherished belief that the twenty processional vestments which are known today represent a mere fraction of the original output is challenged and a diametrically opposed view is put forward - that what there is, is the greatest part of what there was. http://hdl.handle.net/10023/2912 Abstract: The seventeenth century in Britain produced a distinct and unique genre of embroideries; embroideries that were the work of women who have in general maintained, historically, a low profile. In recent years, with an increased ‘female consciousness’, attention has been given to these textiles, and much of what has been said is a matter of some controversy. The concerns of this thesis are therefore two-fold: to look at the women and their work, and in so doing to attempt to clarify some of the arguments surrounding them. No art form exists independently of its creators, and they in turn are the product of their society, so a section of this work is concerned with the place of women in seventeenth century society. Differences in this position from one period to another may indicate the reasons for corresponding changes in the work they created. Similarly, these attitudes and aesthetics do not spring fully fledged into a new century, so it was necessary to pick up the threads of the sixteenth century, and then to look at the trends that were to be more fully developed in the eighteenth century. The scope of the objects covered in this thesis is therefore wide; a major part of the study being concerned with pattern sources of the period, in an attempt to understand the true context of the embroideries in the general aesthetic of the seventeenth century. In doing so, one may also gain an understanding of personal concerns, economic changes and political tensions of the period, as they affected the embroiderer, as well as that of the economic and sociological power bases of the period – and in the seventeenth century the influence of religion on both. Fri, 01 Jan 1988 00:00:00 GMT http://hdl.handle.net/10023/2912 1988-01-01T00:00:00Z Mayhew, Charlotte E. J. The seventeenth century in Britain produced a distinct and unique genre of embroideries; embroideries that were the work of women who have in general maintained, historically, a low profile. In recent years, with an increased ‘female consciousness’, attention has been given to these textiles, and much of what has been said is a matter of some controversy. The concerns of this thesis are therefore two-fold: to look at the women and their work, and in so doing to attempt to clarify some of the arguments surrounding them. No art form exists independently of its creators, and they in turn are the product of their society, so a section of this work is concerned with the place of women in seventeenth century society. Differences in this position from one period to another may indicate the reasons for corresponding changes in the work they created. Similarly, these attitudes and aesthetics do not spring fully fledged into a new century, so it was necessary to pick up the threads of the sixteenth century, and then to look at the trends that were to be more fully developed in the eighteenth century. The scope of the objects covered in this thesis is therefore wide; a major part of the study being concerned with pattern sources of the period, in an attempt to understand the true context of the embroideries in the general aesthetic of the seventeenth century. In doing so, one may also gain an understanding of personal concerns, economic changes and political tensions of the period, as they affected the embroiderer, as well as that of the economic and sociological power bases of the period – and in the seventeenth century the influence of religion on both. http://hdl.handle.net/10023/2806 Abstract: This thesis comprises a study of the Venetian sculptured altarpieces during the period 1460 - 1530. During the course of research a surprisingly large number of examples were identified, many of which have so far received little attention. As well as providing an analysis of individual works, the thesis has the wider aim of examining the sculptured altarpiece as a genre, and hence also of contributing towards a greater understanding of the role of sculpture in Italian Renaissance art and society. The main objectives of study are a) a survey of the chronological and formal development of the altarpieces, b) an investigation of their material and the application of polychromy and gilding, as well as of their manufacture and cost, and c) an analysis of the patrons and their interest in sculpture. The thesis, which draws on various archival sources, further includes an appendix of documents, which illustrates in detail the making of a sculptured altar. A catalogue provides a corpus of the major sculptured altarpieces of the period between 1460 and 1530 which can still be identified. The discussion of the objects accompanied by an extensive photographic documentation. Several altars have been reconstructed through careful reading of the documents. Others, which have not hitherto been published, are reproduced and discussed here for the first time. Rather than providing attributions of individual works on the basis of style, the emphasis lies on the cultural-historical analysis of a genre, and on the assessment of the aesthetic and financial value of sculptured altarpieces and the appreciation of sculpture in Venice in general. Complementing previous studies of Venetian painted altarpieces, the results of research presented here aim to contribute to a fuller composite picture of the art market around 1500, and of the whole artistic environment in Venice of the period. Fri, 01 Jan 1993 00:00:00 GMT http://hdl.handle.net/10023/2806 1993-01-01T00:00:00Z Strupp, Joachim This thesis comprises a study of the Venetian sculptured altarpieces during the period 1460 - 1530. During the course of research a surprisingly large number of examples were identified, many of which have so far received little attention. As well as providing an analysis of individual works, the thesis has the wider aim of examining the sculptured altarpiece as a genre, and hence also of contributing towards a greater understanding of the role of sculpture in Italian Renaissance art and society. The main objectives of study are a) a survey of the chronological and formal development of the altarpieces, b) an investigation of their material and the application of polychromy and gilding, as well as of their manufacture and cost, and c) an analysis of the patrons and their interest in sculpture. The thesis, which draws on various archival sources, further includes an appendix of documents, which illustrates in detail the making of a sculptured altar. A catalogue provides a corpus of the major sculptured altarpieces of the period between 1460 and 1530 which can still be identified. The discussion of the objects accompanied by an extensive photographic documentation. Several altars have been reconstructed through careful reading of the documents. Others, which have not hitherto been published, are reproduced and discussed here for the first time. Rather than providing attributions of individual works on the basis of style, the emphasis lies on the cultural-historical analysis of a genre, and on the assessment of the aesthetic and financial value of sculptured altarpieces and the appreciation of sculpture in Venice in general. Complementing previous studies of Venetian painted altarpieces, the results of research presented here aim to contribute to a fuller composite picture of the art market around 1500, and of the whole artistic environment in Venice of the period. http://hdl.handle.net/10023/2751 Abstract: This dissertation takes the form of a chronologically arranged, biographical survey of the career of Bonifacio de' Pitati in the form of seven interconnected essays that address areas in which the artist's impact and contribution to Venetian painting is in need of definition. These chapters are in turn subordinate to a format that splits itself into the following three parts: Part One deals with Bonifacio the artist; his life, reputation and his early emergence from Palma's studio: In summarising the archival and critical heritage, Chapter One addresses the changing identity and reputation of the artist. Chapter Two investigates Bonifacio's early career and his sustained affiliation to his master, Palma Vecchio. Part Two provides an anatomy of Bonifacio's workshop and the key commissions upon which it was engaged: Chapter Three discusses Bonifacio's production of sacre conversazioni, while Chapter Four reconstructs Bonifacio's contribution to the decoration of the Palazzo dei Camerlenghi, the site of the Venetian Treasury. Chapter Five further investigates the artist's workshop production, his commercial identity and business strategy. Part Three deals with Bonifacio's artistic legacy and the influence he exerted over a number of disciples who flourished during his later years and after his death: Chapter Five analyses the evidence for Bonifacio's role in the early careers of Tintoretto and his contemporaries, while Chapter Seven addresses Bonifacio's late work, the unravelling of his enterprise and his relationship to his artistic descendants. A conclusion is provided, alongside a series of appendices which include a register of documents, an inventory of paintings originally in the Palazzo dei Camerlenghi and a discussion of Bonifacio's career as a portraitist. Mon, 01 Jan 2001 00:00:00 GMT http://hdl.handle.net/10023/2751 2001-01-01T00:00:00Z Cottrell, Philip This dissertation takes the form of a chronologically arranged, biographical survey of the career of Bonifacio de' Pitati in the form of seven interconnected essays that address areas in which the artist's impact and contribution to Venetian painting is in need of definition. These chapters are in turn subordinate to a format that splits itself into the following three parts: Part One deals with Bonifacio the artist; his life, reputation and his early emergence from Palma's studio: In summarising the archival and critical heritage, Chapter One addresses the changing identity and reputation of the artist. Chapter Two investigates Bonifacio's early career and his sustained affiliation to his master, Palma Vecchio. Part Two provides an anatomy of Bonifacio's workshop and the key commissions upon which it was engaged: Chapter Three discusses Bonifacio's production of sacre conversazioni, while Chapter Four reconstructs Bonifacio's contribution to the decoration of the Palazzo dei Camerlenghi, the site of the Venetian Treasury. Chapter Five further investigates the artist's workshop production, his commercial identity and business strategy. Part Three deals with Bonifacio's artistic legacy and the influence he exerted over a number of disciples who flourished during his later years and after his death: Chapter Five analyses the evidence for Bonifacio's role in the early careers of Tintoretto and his contemporaries, while Chapter Seven addresses Bonifacio's late work, the unravelling of his enterprise and his relationship to his artistic descendants. A conclusion is provided, alongside a series of appendices which include a register of documents, an inventory of paintings originally in the Palazzo dei Camerlenghi and a discussion of Bonifacio's career as a portraitist. http://hdl.handle.net/10023/2709 Tue, 01 Jan 1991 00:00:00 GMT http://hdl.handle.net/10023/2709 1991-01-01T00:00:00Z Holt, Stephen http://hdl.handle.net/10023/2675 Abstract: The motif of the uncovered female breast is ubiquitous in art of all ages and cultures. Modern analysis of breast imagery tends to be biased by the sexual significance that breasts have now. However in Italian renaissance art the exposed breast appears in many different manifestations. The purpose of this thesis is to explore several specific types of breast iconography. The first chapter will examine images of Maria lactans, and consider the religious, cultural and psychological meaning held within the image and the social changes which were to lead to its loss of popularity. Chapter Two will consider the appearance of secular images of breastfeeding, particularly in the city-states of north Italy in the early Renaissance, and examine possible sociological reasons for the political use of the depiction of breast feeding. Other associated breast iconography will also be considered. Chapter Three will focus on images of the tortured breast, particularly depictions of St. Agatha suffering the removal of her breasts during martyrdom. Both the sacred and sado-sexual elements of such images will be examined. The fourth chapter will look at images of Lucretia. It will be examined why in so many cases artists chose to depict her with her breasts exposed (in contradiction to ancient sources) and with the dagger actually pointing at or embedded in her breast. It will be argued that the breast was used in art as external symbol of the female heart. The final chapter of the thesis will focus on paintings Cleopatra. Again, there is an even more marked contradiction to ancient sources when Cleopatra is depicted dying by a snakebite to the breast. A full-circle will be achieved in the contrast of paintings of Mary suckling Christ with images of Cleopatra apparently breastfeeding a snake. Sun, 01 Jan 2006 00:00:00 GMT http://hdl.handle.net/10023/2675 2006-01-01T00:00:00Z Ashton, Anne M. The motif of the uncovered female breast is ubiquitous in art of all ages and cultures. Modern analysis of breast imagery tends to be biased by the sexual significance that breasts have now. However in Italian renaissance art the exposed breast appears in many different manifestations. The purpose of this thesis is to explore several specific types of breast iconography. The first chapter will examine images of Maria lactans, and consider the religious, cultural and psychological meaning held within the image and the social changes which were to lead to its loss of popularity. Chapter Two will consider the appearance of secular images of breastfeeding, particularly in the city-states of north Italy in the early Renaissance, and examine possible sociological reasons for the political use of the depiction of breast feeding. Other associated breast iconography will also be considered. Chapter Three will focus on images of the tortured breast, particularly depictions of St. Agatha suffering the removal of her breasts during martyrdom. Both the sacred and sado-sexual elements of such images will be examined. The fourth chapter will look at images of Lucretia. It will be examined why in so many cases artists chose to depict her with her breasts exposed (in contradiction to ancient sources) and with the dagger actually pointing at or embedded in her breast. It will be argued that the breast was used in art as external symbol of the female heart. The final chapter of the thesis will focus on paintings Cleopatra. Again, there is an even more marked contradiction to ancient sources when Cleopatra is depicted dying by a snakebite to the breast. A full-circle will be achieved in the contrast of paintings of Mary suckling Christ with images of Cleopatra apparently breastfeeding a snake. http://hdl.handle.net/10023/2653 Abstract: Giovanni d'Alemagna and Antonio Vivarini worked together as painters and partners from (at least) 1441 until Giovanni's death in 1450. The nine extant projects by their shop which can be securely attributed to these years provide our most certain indication of the preoccupations of Venetian painters during this important yet mysterious decade in the history of Venetian art. Despite the recognised significance of this oeuvre, it has not been the focus of extensive study since the catalogue raisonne of Rodolfo Pallucchini in the 1960s. This thesis re-examines the evidence surrounding the two painters and their oeuvre and contributes new information from Venetian archives. Moreover, by focusing on the patrons of the partners rather than on the paintings alone it has been possible to gain fresh insights into the working practices of the Vivarini shop and into the attitudes of Venetian society towards their work. In particular the study re-evaluates established ideas regarding the close relationship between their art and that of the Florentine tradition in light of new evidence and the contribution of modern scholarship. The thesis reveals that the partners worked most often for Venetian patrician clients and were employed within a close-knit social circle. A number of their patrons were in close contact with their Florentine counterparts and even engaged Florentine artists to public projects in the Veneto. At the same time Venetians were becoming more familiar with cultural developments in northern Europe. Several patrons of the Vivarini shop demonstrate a parallel appreciation of transalpine art by their other artistic commissions. The popularity of the Vivarini partners during the 1440s might be attributed to their successful marriage of these two styles. The transalpine origins of Giovanni d'Alemagna might also have contributed to the appeal of the Vivarini shop. Although Giovanni has remained a shadowy and often side-lined figure in the history of Venetian art, it is now possible to discuss his biography with some confidence. An assessment of Giovanni's own oeuvre, records of which exist from as early as 1431, forms a necessary preamble to this consideration of the art of the Vivarini partners over the course of the 1440s. Fri, 01 Jan 1999 00:00:00 GMT http://hdl.handle.net/10023/2653 1999-01-01T00:00:00Z Holgate, Ian Richard Giovanni d'Alemagna and Antonio Vivarini worked together as painters and partners from (at least) 1441 until Giovanni's death in 1450. The nine extant projects by their shop which can be securely attributed to these years provide our most certain indication of the preoccupations of Venetian painters during this important yet mysterious decade in the history of Venetian art. Despite the recognised significance of this oeuvre, it has not been the focus of extensive study since the catalogue raisonne of Rodolfo Pallucchini in the 1960s. This thesis re-examines the evidence surrounding the two painters and their oeuvre and contributes new information from Venetian archives. Moreover, by focusing on the patrons of the partners rather than on the paintings alone it has been possible to gain fresh insights into the working practices of the Vivarini shop and into the attitudes of Venetian society towards their work. In particular the study re-evaluates established ideas regarding the close relationship between their art and that of the Florentine tradition in light of new evidence and the contribution of modern scholarship. The thesis reveals that the partners worked most often for Venetian patrician clients and were employed within a close-knit social circle. A number of their patrons were in close contact with their Florentine counterparts and even engaged Florentine artists to public projects in the Veneto. At the same time Venetians were becoming more familiar with cultural developments in northern Europe. Several patrons of the Vivarini shop demonstrate a parallel appreciation of transalpine art by their other artistic commissions. The popularity of the Vivarini partners during the 1440s might be attributed to their successful marriage of these two styles. The transalpine origins of Giovanni d'Alemagna might also have contributed to the appeal of the Vivarini shop. Although Giovanni has remained a shadowy and often side-lined figure in the history of Venetian art, it is now possible to discuss his biography with some confidence. An assessment of Giovanni's own oeuvre, records of which exist from as early as 1431, forms a necessary preamble to this consideration of the art of the Vivarini partners over the course of the 1440s. http://hdl.handle.net/10023/2620 Abstract: The dissertation explores the work of two African artists: Lamidi O. Fakeye a Yoruba wood carver, and Ahmed M. Shibrain a Sudanese painter, as an exemplary development within African art during the second half of the 20th century. It examines their works through the sense of "tradition" as it is seen within the context of their cultures and their histories. It considers their works to be a reflection of their time, a hybrid art and a new tradition emerging within their respective cultures as a result of change in their societies. It argues against the notion that separates their art from their traditions and their histories based on the artificial barriers of "authenticity" in the literature on African art and the various categories that are related to it. It ponders on the contradictions and complexity that this situation has created and demonstrated that these categories negate historical realities. The dissertation is in two parts. The first part describes and analyses some of Lamidi's Christian and secular carvings. His work is placed in its appropriate historical perspective by revealing its close relationship to the carvings of his predecessors in terms of themes, design, content and clients. Innovation and change in his work through time and space is revealed. In the second part, the dissertation defines the connectivity of Shibrain's work to his tradition and its history, and that of his fellow artists who contributed to the development of a new trend in Sudanese art. It discusses their work on the basis of the 'idea' of art in Islam, their training and their heritage of decorative art and Arabic calligraphy. It argues that innovation, influence, borrowing and adaptation, are part of progress in art through the ages. Sun, 01 Jan 2006 00:00:00 GMT http://hdl.handle.net/10023/2620 2006-01-01T00:00:00Z Nour, A. I. The dissertation explores the work of two African artists: Lamidi O. Fakeye a Yoruba wood carver, and Ahmed M. Shibrain a Sudanese painter, as an exemplary development within African art during the second half of the 20th century. It examines their works through the sense of "tradition" as it is seen within the context of their cultures and their histories. It considers their works to be a reflection of their time, a hybrid art and a new tradition emerging within their respective cultures as a result of change in their societies. It argues against the notion that separates their art from their traditions and their histories based on the artificial barriers of "authenticity" in the literature on African art and the various categories that are related to it. It ponders on the contradictions and complexity that this situation has created and demonstrated that these categories negate historical realities. The dissertation is in two parts. The first part describes and analyses some of Lamidi's Christian and secular carvings. His work is placed in its appropriate historical perspective by revealing its close relationship to the carvings of his predecessors in terms of themes, design, content and clients. Innovation and change in his work through time and space is revealed. In the second part, the dissertation defines the connectivity of Shibrain's work to his tradition and its history, and that of his fellow artists who contributed to the development of a new trend in Sudanese art. It discusses their work on the basis of the 'idea' of art in Islam, their training and their heritage of decorative art and Arabic calligraphy. It argues that innovation, influence, borrowing and adaptation, are part of progress in art through the ages. http://hdl.handle.net/10023/2593 Abstract: This thesis examines the current state of nonprofit museum accountability in the United Kingdom and United States, assessing methods of achieving fiscal and ethical accountability, as well as the factors that have influenced museum codes and policies to that end. The recent development of museum accountability is couched in corporate culture, government influence, and public expectations, making it an interdisciplinary concern. Yet museum professionalisation, including codes of ethics, conflict of interest management, and agreed-upon standards, has received little attention from researchers. This study engages in empirical research to assess museums’ responses to recent regulations, their execution of governance accountability, and the application of internal controls and fiscal transparency measures. These subjects appraise ethical governance and board member duties, in addition to audit practices and best practice policies. Research reveals inadequacies in the museum accountability systems in both Britain and America. As case studies serve to demonstrate, opportunities remain for financial and ethical misconduct, which can damage the public trust in museums. This thesis is the first broad empirical study to explain museum accountability in Britain or America, collating data across the entire museum sector, creating an industry-wide national framework from the quantitative and qualitative findings. No research has reported on the implementation of best practice measures according to the private, public and third sectors, stakeholders, and by the museum industry itself. Ultimately, this thesis provides unique evidence previously lacking in both the UK and US museum sectors, making it possible to posit and assess specific museums against an accurate national accountability framework. Wed, 30 Nov 2011 00:00:00 GMT http://hdl.handle.net/10023/2593 2011-11-30T00:00:00Z Groninger, Katherine R. This thesis examines the current state of nonprofit museum accountability in the United Kingdom and United States, assessing methods of achieving fiscal and ethical accountability, as well as the factors that have influenced museum codes and policies to that end. The recent development of museum accountability is couched in corporate culture, government influence, and public expectations, making it an interdisciplinary concern. Yet museum professionalisation, including codes of ethics, conflict of interest management, and agreed-upon standards, has received little attention from researchers. This study engages in empirical research to assess museums’ responses to recent regulations, their execution of governance accountability, and the application of internal controls and fiscal transparency measures. These subjects appraise ethical governance and board member duties, in addition to audit practices and best practice policies. Research reveals inadequacies in the museum accountability systems in both Britain and America. As case studies serve to demonstrate, opportunities remain for financial and ethical misconduct, which can damage the public trust in museums. This thesis is the first broad empirical study to explain museum accountability in Britain or America, collating data across the entire museum sector, creating an industry-wide national framework from the quantitative and qualitative findings. No research has reported on the implementation of best practice measures according to the private, public and third sectors, stakeholders, and by the museum industry itself. Ultimately, this thesis provides unique evidence previously lacking in both the UK and US museum sectors, making it possible to posit and assess specific museums against an accurate national accountability framework. http://hdl.handle.net/10023/2578 Abstract: 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. Fri, 01 Jan 1988 00:00:00 GMT http://hdl.handle.net/10023/2578 1988-01-01T00:00:00Z Fitzalan Howard, Philip 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. http://hdl.handle.net/10023/2107 Abstract: 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. Sat, 01 Jan 2011 00:00:00 GMT http://hdl.handle.net/10023/2107 2011-01-01T00:00:00Z Schell, Sarah 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. http://hdl.handle.net/10023/1976 Abstract: This thesis will investigate the impact of Michelangelo Merisi da Caravaggio (1571-1610), on French patrons and his reception among French artists and collectors in the early seventeenth century, focusing on “les Caravage de Philippe Béthune,” two paintings which are currently on display at the “Chancellerie” in Loches-en-Touraine in central France. The paintings, La Cène à Emmaüs and L’Incrédulité de Saint Thomas are important because they were the first Caravaggesque paintings to be introduced to France when Philippe de Béthune brought them back from Italy in 1605. French interest in Italian paintings had fallen into decline during the sixteenth century, largely as a result of the breakdown in diplomatic relations with Rome due to the French Wars of Religion (1558-98), and the continued hostilities with Spain. “Les Caravage de Philippe de Béthune”, are therefore significant in the history of French art collecting and are fundamental to this project. One of the principal aims of this study is to assess the importance of Philippe de Béthune (1566-1649) as an early French collector of modern Italian paintings. Béthune was first introduced to Caravaggio’s dramatic and psychologically powerful art during his first period of office (1601-1605) as the French Ambassador to Rome, through his professional relationship with Cardinal Del Monte, one of Caravaggio’s important early patrons. This study will discuss the polemic surrounding the attribution of Béthune’s paintings to Caravaggio and examine the comments made by leading art experts regarding “Les Caravage de Philippe de Béthune,” together with the difficulties faced by conservators when trying to establish the true authorship of paintings. Caravaggio was an extremely popular and highly commercial artist in his own lifetime and consequently his work was much copied. This study will therefore investigate the culture of copying during this period. Fri, 01 Jan 2010 00:00:00 GMT http://hdl.handle.net/10023/1976 2010-01-01T00:00:00Z Fowler, Virginia This thesis will investigate the impact of Michelangelo Merisi da Caravaggio (1571-1610), on French patrons and his reception among French artists and collectors in the early seventeenth century, focusing on “les Caravage de Philippe Béthune,” two paintings which are currently on display at the “Chancellerie” in Loches-en-Touraine in central France. The paintings, La Cène à Emmaüs and L’Incrédulité de Saint Thomas are important because they were the first Caravaggesque paintings to be introduced to France when Philippe de Béthune brought them back from Italy in 1605. French interest in Italian paintings had fallen into decline during the sixteenth century, largely as a result of the breakdown in diplomatic relations with Rome due to the French Wars of Religion (1558-98), and the continued hostilities with Spain. “Les Caravage de Philippe de Béthune”, are therefore significant in the history of French art collecting and are fundamental to this project. One of the principal aims of this study is to assess the importance of Philippe de Béthune (1566-1649) as an early French collector of modern Italian paintings. Béthune was first introduced to Caravaggio’s dramatic and psychologically powerful art during his first period of office (1601-1605) as the French Ambassador to Rome, through his professional relationship with Cardinal Del Monte, one of Caravaggio’s important early patrons. This study will discuss the polemic surrounding the attribution of Béthune’s paintings to Caravaggio and examine the comments made by leading art experts regarding “Les Caravage de Philippe de Béthune,” together with the difficulties faced by conservators when trying to establish the true authorship of paintings. Caravaggio was an extremely popular and highly commercial artist in his own lifetime and consequently his work was much copied. This study will therefore investigate the culture of copying during this period. http://hdl.handle.net/10023/1962 Abstract: Prior to his career as a painter, Walter Richard Sickert (1860-1940) was employed for a number of years as an actor. Indeed the muse of the theatre was a constant influence throughout Sickert’s life and work yet this relationship is curiously neglected in studies of his career. The following thesis, therefore, is an attempt to address this vital aspect of Sickert’s œuvre. Chapter one (Act I: The Duality of Performance and the Art of the Music-Hall) explores Sickert’s acting career and its influence on his music-hall paintings from the 1880s and 1890s, particularly how this experience helps to differentiate his work from Whistler and Degas. Chapter two (Act II: Restaging Camden Town: Walter Sickert and the theatre c.1905-c.1915) examines the influence of the developing New Drama on Sickert’s works from his Fitzroy Street/Camden Town period. Chapter three (Act III: Sickert and Shakespeare: Interpreting the Theatre c.1920-1940) details Sickert’s interest in the rediscovery of Shakespeare as a metaphor for his solution to the crisis in modern art. Finally, chapter four (Act IV: Sickert’s Simulacrum: Representations and Characterisations of the Artist in Texts, Portraits and Self-Portraits c.1880-c.1940) discusses his interest in the concept of theatrical identity, both in terms of an interest in acting and the “character” of artist and self-publicity. Each chapter analyses the influence of the theatre on Sickert’s work, both in terms of his interest in theatrical subject matter but also in a more general sense of the theatrical milieu of his interpretations. Consequently Sickert’s paintings tell us much about changing fashions, traditions and interests in the British theatre during his period. The history of the British stage is therefore the backdrop for the study of a single artist’s obsession with theatricality and visual modernity. Description: Electronic version excludes material for which permission has not been granted by the rights holder Fri, 01 Jan 2010 00:00:00 GMT http://hdl.handle.net/10023/1962 2010-01-01T00:00:00Z Rough, William W. Prior to his career as a painter, Walter Richard Sickert (1860-1940) was employed for a number of years as an actor. Indeed the muse of the theatre was a constant influence throughout Sickert’s life and work yet this relationship is curiously neglected in studies of his career. The following thesis, therefore, is an attempt to address this vital aspect of Sickert’s œuvre. Chapter one (Act I: The Duality of Performance and the Art of the Music-Hall) explores Sickert’s acting career and its influence on his music-hall paintings from the 1880s and 1890s, particularly how this experience helps to differentiate his work from Whistler and Degas. Chapter two (Act II: Restaging Camden Town: Walter Sickert and the theatre c.1905-c.1915) examines the influence of the developing New Drama on Sickert’s works from his Fitzroy Street/Camden Town period. Chapter three (Act III: Sickert and Shakespeare: Interpreting the Theatre c.1920-1940) details Sickert’s interest in the rediscovery of Shakespeare as a metaphor for his solution to the crisis in modern art. Finally, chapter four (Act IV: Sickert’s Simulacrum: Representations and Characterisations of the Artist in Texts, Portraits and Self-Portraits c.1880-c.1940) discusses his interest in the concept of theatrical identity, both in terms of an interest in acting and the “character” of artist and self-publicity. Each chapter analyses the influence of the theatre on Sickert’s work, both in terms of his interest in theatrical subject matter but also in a more general sense of the theatrical milieu of his interpretations. Consequently Sickert’s paintings tell us much about changing fashions, traditions and interests in the British theatre during his period. The history of the British stage is therefore the backdrop for the study of a single artist’s obsession with theatricality and visual modernity. http://hdl.handle.net/10023/1872 Abstract: Early users of medieval books of hours and prayer books left signs of their reading in the form of fingerprints in the margins. The darkness of their fingerprints correlates to the intensity of their use and handling. A densitometer is a machine that measures the darkness of a reflecting surface can reveal which texts a reader favored. This article introduces a new technique, densitometry, to measure a reader's response to various texts in a prayer book. Tue, 01 Jun 2010 00:00:00 GMT http://hdl.handle.net/10023/1872 2010-06-01T00:00:00Z Rudy, Kathryn Margaret Early users of medieval books of hours and prayer books left signs of their reading in the form of fingerprints in the margins. The darkness of their fingerprints correlates to the intensity of their use and handling. A densitometer is a machine that measures the darkness of a reflecting surface can reveal which texts a reader favored. This article introduces a new technique, densitometry, to measure a reader's response to various texts in a prayer book. http://hdl.handle.net/10023/1827 Abstract: 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. Mon, 01 Feb 2010 00:00:00 GMT http://hdl.handle.net/10023/1827 2010-02-01T00:00:00Z Fawcett, Richard Oram, Richard Luxford, Julian Marcus 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. http://hdl.handle.net/10023/1715 Abstract: In 1897 John Sibbald, Commissioner in Lunacy for Scotland, stated that ‘the construction of an asylum is a more interesting subject of study for the general reader than might be supposed.’ This thesis traces the development of the public asylum in Scotland from 1781 to 1930. By placing the institution in its wider social context it provides more than a historical account, exploring how the buildings functioned as well as giving an architectural analysis based on date, plan and style. Here the architecture represents more, and provides a physical expression of successive stages of public philanthropy and legislative changes during what was arguably one of the most rapidly evolving stages of history. At a time when few medical treatments were available, public asylum buildings created truly therapeutic environments, which allowed the mentally ill to live in relative peace and security. The thesis explores how public asylums in Scotland introduced the segregation or ‘classification’ of patients into separate needs-based groups under a system known as Moral Treatment. It focuses particularly on the evolving plan forms of these institutions from the earliest radial, prison-like structures to their development into self-sustaining village-style colonies and shows how the plan reflects new attitudes to treatment. While many have disappeared, the surviving Victorian and Edwardian mega-structures lie as haunting reminders of a largely forgotten era in Scottish psychiatry. Only a few of the original buildings are still in use today as specialist units, out-patient centres, and administrative offices for Scotland’s Health Boards. Others have been redeveloped as universities or luxury housing schemes, making use of the good-quality buildings and landscaping. Whatever their current use, public asylums stand today as an outward sign of the awakening of the Scottish people to the plight of the mentally ill in the nineteenth and early twentieth centuries. Sat, 01 Jan 2011 00:00:00 GMT http://hdl.handle.net/10023/1715 2011-01-01T00:00:00Z Darragh, Alison In 1897 John Sibbald, Commissioner in Lunacy for Scotland, stated that ‘the construction of an asylum is a more interesting subject of study for the general reader than might be supposed.’ This thesis traces the development of the public asylum in Scotland from 1781 to 1930. By placing the institution in its wider social context it provides more than a historical account, exploring how the buildings functioned as well as giving an architectural analysis based on date, plan and style. Here the architecture represents more, and provides a physical expression of successive stages of public philanthropy and legislative changes during what was arguably one of the most rapidly evolving stages of history. At a time when few medical treatments were available, public asylum buildings created truly therapeutic environments, which allowed the mentally ill to live in relative peace and security. The thesis explores how public asylums in Scotland introduced the segregation or ‘classification’ of patients into separate needs-based groups under a system known as Moral Treatment. It focuses particularly on the evolving plan forms of these institutions from the earliest radial, prison-like structures to their development into self-sustaining village-style colonies and shows how the plan reflects new attitudes to treatment. While many have disappeared, the surviving Victorian and Edwardian mega-structures lie as haunting reminders of a largely forgotten era in Scottish psychiatry. Only a few of the original buildings are still in use today as specialist units, out-patient centres, and administrative offices for Scotland’s Health Boards. Others have been redeveloped as universities or luxury housing schemes, making use of the good-quality buildings and landscaping. Whatever their current use, public asylums stand today as an outward sign of the awakening of the Scottish people to the plight of the mentally ill in the nineteenth and early twentieth centuries. http://hdl.handle.net/10023/1021 Abstract: 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. Description: Electronic version excludes material for which permission has not been granted by the rights holder Thu, 24 Jun 2010 00:00:00 GMT http://hdl.handle.net/10023/1021 2010-06-24T00:00:00Z Sherman, Allison M. 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. http://hdl.handle.net/10023/1020 Abstract: The British understanding of Chinese painting owed much to Laurence Binyon (1869-1943) who enriched the British Museum’s collections of Oriental painting, and for almost forty years, published widely and delivered lectures in Britain and abroad. Binyon’s legacy is to be found in several archival resources scattered in Britain, America, Japan and China. This dissertation is a study of the reception of Chinese painting in early twentieth century Britain, and examines Binyon’s contribution to its appreciation and criticism in the West. By examining the William Anderson collection of Japanese and Chinese paintings (1881), I illuminate Anderson’s way of seeing Chinese pictorial art and his influence on Binyon’s early study of Oriental painting. I argue that the early scroll, The Admonitions of the Court Instructress, which Binyon encountered in 1903, ignited his interest in the study of traditional Chinese painting, yet his conception of Chinese pictorial art was influenced by Japanese and Western expertise. To reveal the British taste and growing interest in Chinese painting around 1910, Binyon’s involvements in major acquisitions and exhibitions of Chinese paintings at the British Museum, including the Sir Aurel Stein collection (1909) and the Frau Olga-Julia Wegener collection (1910), as well as his visits to Western collections of Chinese art in America and Germany, will be investigated. In order to understand the relevance and values of Chinese painting for the development of early twentieth-century British art, I also scrutinize how the principle of “rhythmic vitality” or qiyun shengdong, as well as the Daoist-and Zen-inspired aesthetic ideas were assiduously promoted in Binyon’s writings on Chinese painting, and how Chinese art and thought kindled British modernists to fuse art with life in order to re-vitalize the spirit of modern European art with non-scientific conceptions. Description: Electronic version excludes material for which permission has not been granted by the rights holder Thu, 24 Jun 2010 00:00:00 GMT http://hdl.handle.net/10023/1020 2010-06-24T00:00:00Z Huang, Michelle Ying-Ling The British understanding of Chinese painting owed much to Laurence Binyon (1869-1943) who enriched the British Museum’s collections of Oriental painting, and for almost forty years, published widely and delivered lectures in Britain and abroad. Binyon’s legacy is to be found in several archival resources scattered in Britain, America, Japan and China. This dissertation is a study of the reception of Chinese painting in early twentieth century Britain, and examines Binyon’s contribution to its appreciation and criticism in the West. By examining the William Anderson collection of Japanese and Chinese paintings (1881), I illuminate Anderson’s way of seeing Chinese pictorial art and his influence on Binyon’s early study of Oriental painting. I argue that the early scroll, The Admonitions of the Court Instructress, which Binyon encountered in 1903, ignited his interest in the study of traditional Chinese painting, yet his conception of Chinese pictorial art was influenced by Japanese and Western expertise. To reveal the British taste and growing interest in Chinese painting around 1910, Binyon’s involvements in major acquisitions and exhibitions of Chinese paintings at the British Museum, including the Sir Aurel Stein collection (1909) and the Frau Olga-Julia Wegener collection (1910), as well as his visits to Western collections of Chinese art in America and Germany, will be investigated. In order to understand the relevance and values of Chinese painting for the development of early twentieth-century British art, I also scrutinize how the principle of “rhythmic vitality” or qiyun shengdong, as well as the Daoist-and Zen-inspired aesthetic ideas were assiduously promoted in Binyon’s writings on Chinese painting, and how Chinese art and thought kindled British modernists to fuse art with life in order to re-vitalize the spirit of modern European art with non-scientific conceptions. http://hdl.handle.net/10023/990 Abstract: Since its foundation between 1410 and 1414 the University of St Andrews has acquired what can be considered to be ‘artefacts of significance’. This somewhat nebulous phrase is used to denote items that have, for a variety of reasons, been deemed to have some special import by the University, and have been displayed or otherwise presented in a context in which this status has been made apparent. The types of artefacts in which particular meaning has been vested during the centuries under consideration include items of silver and gold (including the maces, sacramental vessels of the Collegiate Church of St Salvator, collegiate plate and relics of the Silver Arrow archery competition); church and college furnishings; artworks (particularly portraits); sculpture; and ethnographic specimens and other items described in University records as ‘curiosities’ held in the University Library from c. 1700-1838. The identification of particular artefacts as significant for certain reasons in certain periods, and their presentation and display, may to some extent reflect the University's values, preoccupations and aspirations in these periods, and, to some degree, its identity. Consciously or subconsciously, the objects can be employed or operate as signifiers of meaning, representing or reflecting matters such as the status, authority and history of the University, its breadth of learning and its interest and influence in spheres from science, art and world cultures to national affairs. This thesis provides a comprehensive examination of the growth and development of the University's holdings of 'artefacts of significance' from its foundation to the mid-19th century, and in some cases (especially portraits) beyond this date. It also offers insights into how the University viewed and presented these items and what this reveals about the University of St Andrews, its identity, which changed and developed as the living institution evolved, and the impressions that it wished to project. Thu, 24 Jun 2010 00:00:00 GMT http://hdl.handle.net/10023/990 2010-06-24T00:00:00Z Rawson, Helen C. Since its foundation between 1410 and 1414 the University of St Andrews has acquired what can be considered to be ‘artefacts of significance’. This somewhat nebulous phrase is used to denote items that have, for a variety of reasons, been deemed to have some special import by the University, and have been displayed or otherwise presented in a context in which this status has been made apparent. The types of artefacts in which particular meaning has been vested during the centuries under consideration include items of silver and gold (including the maces, sacramental vessels of the Collegiate Church of St Salvator, collegiate plate and relics of the Silver Arrow archery competition); church and college furnishings; artworks (particularly portraits); sculpture; and ethnographic specimens and other items described in University records as ‘curiosities’ held in the University Library from c. 1700-1838. The identification of particular artefacts as significant for certain reasons in certain periods, and their presentation and display, may to some extent reflect the University's values, preoccupations and aspirations in these periods, and, to some degree, its identity. Consciously or subconsciously, the objects can be employed or operate as signifiers of meaning, representing or reflecting matters such as the status, authority and history of the University, its breadth of learning and its interest and influence in spheres from science, art and world cultures to national affairs. This thesis provides a comprehensive examination of the growth and development of the University's holdings of 'artefacts of significance' from its foundation to the mid-19th century, and in some cases (especially portraits) beyond this date. It also offers insights into how the University viewed and presented these items and what this reveals about the University of St Andrews, its identity, which changed and developed as the living institution evolved, and the impressions that it wished to project. http://hdl.handle.net/10023/835 Abstract: 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. Description: Electronic version excludes material for which permission has not been granted by the rights holder Thu, 25 Jun 2009 00:00:00 GMT http://hdl.handle.net/10023/835 2009-06-25T00:00:00Z Halkias, Maria 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. http://hdl.handle.net/10023/788 Abstract: 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. Sun, 01 Nov 2009 00:00:00 GMT http://hdl.handle.net/10023/788 2009-11-01T00:00:00Z Scott, Helen E. 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. http://hdl.handle.net/10023/768 Abstract: This research is a pioneering study focusing on the museum governance system. Governance in museums has been under-researched; however, recent disputes and development have drawn the public’s attention to this subject. Furthermore, there is still no proper theory or model to explain the decision- and policy- making process in museums. Regarding the scope of this thesis, a focus on national museums of the UK and Taiwan has been chosen because of their historical similarities. A literature review was conducted to aim at answering the question of ‘what is governance?’, including its definition and theories, not only in the private sector, but also in the public and non-profit sectors. Museum governance has been identified and compared with the application of marketing and management as well as museology. It was also significant to investigate the historical development of museum governance in the two selected countries. It has enabled the author to find out the most influential factors in the governance systems of museums and create a preliminary model. Six national museums were selected as cases and three trips of fieldwork were achieved in a period of more than a year. A background analysis of each case provided a fundamental understanding of their history, organisational structure and importance. Data collected was later analysed in detail and compared, to understand governance practices as well as to test the proposed model. This has proved that the Interactive Model of museum governance helps to explain the governance process in the museum; however, a minor change has also been made to refine this model. A further literature review was conducted to update the information and also to ensure the originality of this research. There are some suggestions for future research on this subject, and it is the hope of the author to have widened interest in museum governance both in academia and among museum professionals. Thu, 01 Jan 2009 00:00:00 GMT http://hdl.handle.net/10023/768 2009-01-01T00:00:00Z Tzeng, Shin-Chieh This research is a pioneering study focusing on the museum governance system. Governance in museums has been under-researched; however, recent disputes and development have drawn the public’s attention to this subject. Furthermore, there is still no proper theory or model to explain the decision- and policy- making process in museums. Regarding the scope of this thesis, a focus on national museums of the UK and Taiwan has been chosen because of their historical similarities. A literature review was conducted to aim at answering the question of ‘what is governance?’, including its definition and theories, not only in the private sector, but also in the public and non-profit sectors. Museum governance has been identified and compared with the application of marketing and management as well as museology. It was also significant to investigate the historical development of museum governance in the two selected countries. It has enabled the author to find out the most influential factors in the governance systems of museums and create a preliminary model. Six national museums were selected as cases and three trips of fieldwork were achieved in a period of more than a year. A background analysis of each case provided a fundamental understanding of their history, organisational structure and importance. Data collected was later analysed in detail and compared, to understand governance practices as well as to test the proposed model. This has proved that the Interactive Model of museum governance helps to explain the governance process in the museum; however, a minor change has also been made to refine this model. A further literature review was conducted to update the information and also to ensure the originality of this research. There are some suggestions for future research on this subject, and it is the hope of the author to have widened interest in museum governance both in academia and among museum professionals. http://hdl.handle.net/10023/736 Abstract: 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. Thu, 01 Jan 2009 00:00:00 GMT http://hdl.handle.net/10023/736 2009-01-01T00:00:00Z Walters, Laura M. 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. http://hdl.handle.net/10023/727 Abstract: This thesis discusses the appropriation of antique art in Italy during the fourteenth century. In order to do that, it considers the surviving antiquities in late medieval Italian cities and examines their reception and perception by contemporary authors and artists. Following the introductory chapter, which sets out the aims of the thesis and provides a brief historical background of the period, this study is divided in two parts. Part I examines the awareness of ancient art in the Trecento by looking at late-medieval Italian texts. After an introduction of the relevant texts and a presentation of the biographical background of their authors, the chapters explore the reliability of the writers, their references to antique art and their particular interests towards antique art. They also examine the textual evidence on attitudes towards antiquity, contrasting the different approaches of intellectual and popular audiences, and discuss a number of surviving antique works that were placed in public places and were charged with ideological intent, meaning and power. Part II approaches the subject of the appropriation of antique art in the Trecento from a different angle and deals with the reaction of artists toward ancient art. It discusses the emergence of a new iconography that reflects themes arising from encounters with classical literary texts, explores instances of antique sculpture portrayed in fourteenth-century paintings, and examines the antique sources of various Trecento motifs and compositions. The Appendix is a detailed list of antique works of art that were visible in Trecento Italy, along with a discussion of their history and the relevant primary and secondary bibliography. Thu, 25 Jun 2009 00:00:00 GMT http://hdl.handle.net/10023/727 2009-06-25T00:00:00Z Kouneni, Garyfallia This thesis discusses the appropriation of antique art in Italy during the fourteenth century. In order to do that, it considers the surviving antiquities in late medieval Italian cities and examines their reception and perception by contemporary authors and artists. Following the introductory chapter, which sets out the aims of the thesis and provides a brief historical background of the period, this study is divided in two parts. Part I examines the awareness of ancient art in the Trecento by looking at late-medieval Italian texts. After an introduction of the relevant texts and a presentation of the biographical background of their authors, the chapters explore the reliability of the writers, their references to antique art and their particular interests towards antique art. They also examine the textual evidence on attitudes towards antiquity, contrasting the different approaches of intellectual and popular audiences, and discuss a number of surviving antique works that were placed in public places and were charged with ideological intent, meaning and power. Part II approaches the subject of the appropriation of antique art in the Trecento from a different angle and deals with the reaction of artists toward ancient art. It discusses the emergence of a new iconography that reflects themes arising from encounters with classical literary texts, explores instances of antique sculpture portrayed in fourteenth-century paintings, and examines the antique sources of various Trecento motifs and compositions. The Appendix is a detailed list of antique works of art that were visible in Trecento Italy, along with a discussion of their history and the relevant primary and secondary bibliography. http://hdl.handle.net/10023/694 Abstract: 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. Mon, 01 Jan 2007 00:00:00 GMT http://hdl.handle.net/10023/694 2007-01-01T00:00:00Z Maddox, Amanda 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. http://hdl.handle.net/10023/671 Abstract: 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. Description: This is the last chapter of a book which was based on a conference held in the late 1990s at St Andrews Tue, 01 Jan 2002 00:00:00 GMT http://hdl.handle.net/10023/671 2002-01-01T00:00:00Z Howard, J C 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. http://hdl.handle.net/10023/604 Abstract: 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. Tue, 01 Jan 2008 00:00:00 GMT http://hdl.handle.net/10023/604 2008-01-01T00:00:00Z Mutch, Andrew C. 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. http://hdl.handle.net/10023/528 Abstract: 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. Fri, 01 Jan 1988 00:00:00 GMT http://hdl.handle.net/10023/528 1988-01-01T00:00:00Z Evetts, Robin Dennis Alexander 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. http://hdl.handle.net/10023/514 Abstract: 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. Sat, 01 Jan 2005 00:00:00 GMT http://hdl.handle.net/10023/514 2005-01-01T00:00:00Z Edwards, Juliet 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. http://hdl.handle.net/10023/505 Abstract: 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. Description: Electronic version excludes illustrations for which permission has not been granted by the rights holder Sun, 01 Jun 2008 00:00:00 GMT http://hdl.handle.net/10023/505 2008-06-01T00:00:00Z Young, William Russell 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. http://hdl.handle.net/10023/408 Abstract: Collections of tangible heritage and material culture found in university museums present both challenges and opportunities for their parent institutions. The identification and recognition of objects and collections of material ‘heritage’ proves difficult to universities, due to the formation and utilisation of their collections. Although each university possesses a history of varied content, length and significance, the rich heritage collections kept by universities remain undefined and largely unknown. This thesis addresses new and changing roles for university museums and collections, focusing on the issues surrounding heritage. What purpose does an institutional collection of academic heritage serve beyond preserving or representing the history of a university? Using data collected during the field research programme and two case studies (University of St Andrews and University of Liverpool) the thesis explores the definition and role of heritage in the university. Through the exploration of these topics, the thesis provides a new model for university collecting institutions based on the concept of ‘university heritage’ and ‘institutional identity’, encompassing collections ranging from subject-specific departmental teaching collections to commemorative collections of fine art. By utilising these once undefined and underappreciated collections, universities can use the heritage objects and material culture representative of their academic history and traditions as institutional promotion to potential students, staff and funding bodies. Sat, 01 Dec 2007 00:00:00 GMT http://hdl.handle.net/10023/408 2007-12-01T00:00:00Z Kozak, Zenobia Collections of tangible heritage and material culture found in university museums present both challenges and opportunities for their parent institutions. The identification and recognition of objects and collections of material ‘heritage’ proves difficult to universities, due to the formation and utilisation of their collections. Although each university possesses a history of varied content, length and significance, the rich heritage collections kept by universities remain undefined and largely unknown. This thesis addresses new and changing roles for university museums and collections, focusing on the issues surrounding heritage. What purpose does an institutional collection of academic heritage serve beyond preserving or representing the history of a university? Using data collected during the field research programme and two case studies (University of St Andrews and University of Liverpool) the thesis explores the definition and role of heritage in the university. Through the exploration of these topics, the thesis provides a new model for university collecting institutions based on the concept of ‘university heritage’ and ‘institutional identity’, encompassing collections ranging from subject-specific departmental teaching collections to commemorative collections of fine art. By utilising these once undefined and underappreciated collections, universities can use the heritage objects and material culture representative of their academic history and traditions as institutional promotion to potential students, staff and funding bodies. http://hdl.handle.net/10023/318 Abstract: 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. Thu, 01 Mar 2007 00:00:00 GMT http://hdl.handle.net/10023/318 2007-03-01T00:00:00Z Ashby, Charlotte 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.