Art History Theseshttps://hdl.handle.net/10023/432024-03-29T08:59:09Z2024-03-29T08:59:09ZNational-ish artists : Victorio Edades and the founding of Filipino modern artJohn, Nicola Kanmanyhttps://hdl.handle.net/10023/291812024-02-10T03:07:27Z2022-06-16T00:00:00ZVictorio Edades has long been regarded as the founding father of modern art in the Philippines.
For a long time, the artist’s devotion to this cause has been traced to a paradigm-altering
encounter with Post- Impressionist art in 1922 or 1923 at a travelling iteration of the New York
Armory Hall show which reached Seattle while Edades was a student at the University of
Washington. Closer examination of paintings and documentation relating to Edades’ time in
Seattle, however, reveal that this is almost certainly not the case. Strong evidence suggests both
that the New York Armory Hall show never reached Seattle and that Edades’ first encounter with
modernist art occurred at the University of Washington itself.
This thesis offers new analysis of Edades’ career as a modernist artist over several decades of
rapid social and political change. It re- examines the sources that influenced his practice as an
artist and art educator, situating his early work in relation to the art and ideas being circulated in
the Pacific Northwest in the 1920s and then in Southeast Asia through World War II,
decolonisation and the establishment of national and regional identity in the post- independence
era. It also interrogates the Armory Hall narrative that was constructed in defiance of the primary
sources, exploring possible reasons first for its creation and then for its endurance over some fifty
years of scholarship after the fact.
Finally, it explores the implications of this more complicated narrative of Filipino modernism for the
wider understanding of modern art in the Philippines, Southeast- Asia and in terms of colonial and
post-colonial networks which continue to shape the discourse within which the work of Edades and
his followers can be situated at national, regional and global levels.
Electronic version excludes material for which permission has not been granted by the rights holder
2022-06-16T00:00:00ZJohn, Nicola KanmanyVictorio Edades has long been regarded as the founding father of modern art in the Philippines.
For a long time, the artist’s devotion to this cause has been traced to a paradigm-altering
encounter with Post- Impressionist art in 1922 or 1923 at a travelling iteration of the New York
Armory Hall show which reached Seattle while Edades was a student at the University of
Washington. Closer examination of paintings and documentation relating to Edades’ time in
Seattle, however, reveal that this is almost certainly not the case. Strong evidence suggests both
that the New York Armory Hall show never reached Seattle and that Edades’ first encounter with
modernist art occurred at the University of Washington itself.
This thesis offers new analysis of Edades’ career as a modernist artist over several decades of
rapid social and political change. It re- examines the sources that influenced his practice as an
artist and art educator, situating his early work in relation to the art and ideas being circulated in
the Pacific Northwest in the 1920s and then in Southeast Asia through World War II,
decolonisation and the establishment of national and regional identity in the post- independence
era. It also interrogates the Armory Hall narrative that was constructed in defiance of the primary
sources, exploring possible reasons first for its creation and then for its endurance over some fifty
years of scholarship after the fact.
Finally, it explores the implications of this more complicated narrative of Filipino modernism for the
wider understanding of modern art in the Philippines, Southeast- Asia and in terms of colonial and
post-colonial networks which continue to shape the discourse within which the work of Edades and
his followers can be situated at national, regional and global levels.Look at the Sky : the bird Simurgh in text and image in Iran (1010-1650)Castro Royo, Laurahttps://hdl.handle.net/10023/285682023-10-26T08:11:13Z2023-11-29T00:00:00ZThis research focuses on the mythological bird Sīmurgh and her representations in literature and art in the Persianate world from 1010 to 1650. Sīmurgh is generally overlooked in both art and literature, and she has not been the subject of monographic study. This dissertation proposes a combination of approaches from literary and art historical analyses to offer a complete picture of the importance of this bird for the arts and culture of the Persianate world. The results of the research show that Sīmurgh is a multifaceted subject: she is a narrative character, a mystical symbol, and a decorative motif. There is no division between these aspects; rather, they coexist.
The dissertation is divided in two parts. The first five chapters are dedicated to the study of the role of Sīmurgh in literature. The chapters are divided by genre: epic poetry, encyclopaedic works, and Sufi-mystical poetry. The following four chapters that form the second part of this dissertation analyse the iconography of Sīmurgh. They first investigate the possible origins of her visual representation up until c. 1300s. Following, a chapter is dedicated to the critical stage in which text and image became related and a recognisable iconography was established for the literary character of Sīmurgh. The dissertation ends with a chapter that discusses a following stage in which the iconography of Sīmurgh detached itself from the narrative text and started to function as decoration.
2023-11-29T00:00:00ZCastro Royo, LauraThis research focuses on the mythological bird Sīmurgh and her representations in literature and art in the Persianate world from 1010 to 1650. Sīmurgh is generally overlooked in both art and literature, and she has not been the subject of monographic study. This dissertation proposes a combination of approaches from literary and art historical analyses to offer a complete picture of the importance of this bird for the arts and culture of the Persianate world. The results of the research show that Sīmurgh is a multifaceted subject: she is a narrative character, a mystical symbol, and a decorative motif. There is no division between these aspects; rather, they coexist.
The dissertation is divided in two parts. The first five chapters are dedicated to the study of the role of Sīmurgh in literature. The chapters are divided by genre: epic poetry, encyclopaedic works, and Sufi-mystical poetry. The following four chapters that form the second part of this dissertation analyse the iconography of Sīmurgh. They first investigate the possible origins of her visual representation up until c. 1300s. Following, a chapter is dedicated to the critical stage in which text and image became related and a recognisable iconography was established for the literary character of Sīmurgh. The dissertation ends with a chapter that discusses a following stage in which the iconography of Sīmurgh detached itself from the narrative text and started to function as decoration.The Maison Bonfils in the Middle East (1867-1918) : visual technologies, empire, and spectacleChelhot Lemyre, Carinehttps://hdl.handle.net/10023/283422023-09-18T09:19:52Z2023-11-29T00:00:00ZThis thesis explores the works of the prominent nineteenth-century photography studio the Maison Bonfils, which was founded in 1867 by the French photographer Félix Bonfils and his wife Marie-Lydie Cabanis in Beirut, Lebanon. Félix Bonfils and his photographic atelier have merited mention in history of photography surveys and exhibition catalogues. However, there has been no dedicated scholarship that has solely analysed the Maison Bonfils’ works to date. This thesis is therefore the first assessment of the Maison Bonfils’ diverse photographic archive and its signal importance for a transnational history of photography. Drawing upon theories on Orientalism and postcolonialism, the chapters’ case studies investigate the relationship between each photographic visual technology that was employed to produce a photographic “format” (i.e., albumen prints, albums, magic lantern slides, and stereographs) and themes related to the categorization of individuals, archeology, religious landmarks, the French involvement in tourism in Egypt and the establishment of modern infrastructure in Ottoman Syria. In doing so, it places the work of the Maison Bonfils within the history of nineteenth-century photography and elaborates on its role in the shaping of knowledge of the Middle East from a European perspective.
While this thesis focuses solely on the works of the Maison Bonfils, its purpose is not to provide a catalogue raisonné of the studio’s corpus, but to analyze specific works in conjunction with the visual technology employed, the photographic format produced, and their relationship with Orientalism and beyond. I argue that each photographic format contributed to a particular dissemination and reception of an altered representation of the Middle East, one that is unique to its technology, its way of displaying images, and issuing information.
Theoretically speaking, while I resort to and employ the Orientalist paradigm in my analysis of the visual material produced by the Maison Bonfils, not all photographs by the studio should be labelled as such. In fact, some illustrations are emblematic of a much more subtle and complicated form of visual practice that responded to local circumstances and markets from the perspective of a Beirut-based studio and international enterprise. Attributing an Orientalist label to all of Bonfils’ photographs would overshadow and hinder a perspective on the complex climate in which they were produced, circulated, and received at the time. While I argue that Edward Said’s theories on Orientalism are still valid to this day, some of this thesis’ chapters seek to expand on the complexities of Orientalism evoked in the photographs, as well as give credit to the agency of multiple actors in the Ottoman Middle East and North Africa. Presenting the region as multi-ethnic, multi-religious, multi-lingual, and multi-vocal considers the region’s individuals who may not have been given enough recognition in past scholarship.
2023-11-29T00:00:00ZChelhot Lemyre, CarineThis thesis explores the works of the prominent nineteenth-century photography studio the Maison Bonfils, which was founded in 1867 by the French photographer Félix Bonfils and his wife Marie-Lydie Cabanis in Beirut, Lebanon. Félix Bonfils and his photographic atelier have merited mention in history of photography surveys and exhibition catalogues. However, there has been no dedicated scholarship that has solely analysed the Maison Bonfils’ works to date. This thesis is therefore the first assessment of the Maison Bonfils’ diverse photographic archive and its signal importance for a transnational history of photography. Drawing upon theories on Orientalism and postcolonialism, the chapters’ case studies investigate the relationship between each photographic visual technology that was employed to produce a photographic “format” (i.e., albumen prints, albums, magic lantern slides, and stereographs) and themes related to the categorization of individuals, archeology, religious landmarks, the French involvement in tourism in Egypt and the establishment of modern infrastructure in Ottoman Syria. In doing so, it places the work of the Maison Bonfils within the history of nineteenth-century photography and elaborates on its role in the shaping of knowledge of the Middle East from a European perspective.
While this thesis focuses solely on the works of the Maison Bonfils, its purpose is not to provide a catalogue raisonné of the studio’s corpus, but to analyze specific works in conjunction with the visual technology employed, the photographic format produced, and their relationship with Orientalism and beyond. I argue that each photographic format contributed to a particular dissemination and reception of an altered representation of the Middle East, one that is unique to its technology, its way of displaying images, and issuing information.
Theoretically speaking, while I resort to and employ the Orientalist paradigm in my analysis of the visual material produced by the Maison Bonfils, not all photographs by the studio should be labelled as such. In fact, some illustrations are emblematic of a much more subtle and complicated form of visual practice that responded to local circumstances and markets from the perspective of a Beirut-based studio and international enterprise. Attributing an Orientalist label to all of Bonfils’ photographs would overshadow and hinder a perspective on the complex climate in which they were produced, circulated, and received at the time. While I argue that Edward Said’s theories on Orientalism are still valid to this day, some of this thesis’ chapters seek to expand on the complexities of Orientalism evoked in the photographs, as well as give credit to the agency of multiple actors in the Ottoman Middle East and North Africa. Presenting the region as multi-ethnic, multi-religious, multi-lingual, and multi-vocal considers the region’s individuals who may not have been given enough recognition in past scholarship.A call to action : crafting inclusive digital museum objects, networks and ecologiesMeehan, Nicôle Paulahttps://hdl.handle.net/10023/281482024-02-01T22:25:53Z2023-11-29T00:00:00ZIn this thesis, I examine the omnipresent digital museum object, seeking to understand what it is, what it does, and what it could be. I explore the lack of consensus surrounding the definition of the digital museum object, offering a new conceptualisation of an object that exists and is valuable in its own right. In isolating the generative potential of the digital museum object, I suggest that it offers inclusive and polyvocal opportunities to museums. By placing the digital museum object in a complex relational network of interactions, analysed through nuanced application of actor-network theory (ANT), I expose the asymmetrical power structures embedded between museum and audience in the postdigital landscape.
Finally, this research places digital museum objects and networks within a dynamic, evolving transnational and transcultural digital ecology. This ecology is rooted in the colonial practices of physical environments, replicated in the digital sphere. Thus, I trouble general claims that the digital landscape has democratised access, stating that instead, many of the issues encountered in physical museum spaces are replicated (or even heightened) in the postdigital environment. The creation of inclusive polyvocal digital museum objects is one positive step in an effort that seeks to counter exclusive structures and to create digital spaces that are more welcoming to all. Moreover, based on my analysis, I suggest practical steps that might be taken in beginning a journey towards creating digital museum objects that speak with, and for many, people.
2023-11-29T00:00:00ZMeehan, Nicôle PaulaIn this thesis, I examine the omnipresent digital museum object, seeking to understand what it is, what it does, and what it could be. I explore the lack of consensus surrounding the definition of the digital museum object, offering a new conceptualisation of an object that exists and is valuable in its own right. In isolating the generative potential of the digital museum object, I suggest that it offers inclusive and polyvocal opportunities to museums. By placing the digital museum object in a complex relational network of interactions, analysed through nuanced application of actor-network theory (ANT), I expose the asymmetrical power structures embedded between museum and audience in the postdigital landscape.
Finally, this research places digital museum objects and networks within a dynamic, evolving transnational and transcultural digital ecology. This ecology is rooted in the colonial practices of physical environments, replicated in the digital sphere. Thus, I trouble general claims that the digital landscape has democratised access, stating that instead, many of the issues encountered in physical museum spaces are replicated (or even heightened) in the postdigital environment. The creation of inclusive polyvocal digital museum objects is one positive step in an effort that seeks to counter exclusive structures and to create digital spaces that are more welcoming to all. Moreover, based on my analysis, I suggest practical steps that might be taken in beginning a journey towards creating digital museum objects that speak with, and for many, people.A conceptual exploration of the monument in the United States since the Civil WarFisher, Clarehttps://hdl.handle.net/10023/280052023-07-25T02:01:05Z2022-06-16T00:00:00ZThis dissertation offers a critical history of the concept of monument in the United States from the Civil War to the present day. It is premised on the assumption that understanding the discursive and material dimensions of such categories is necessary in order to recognise their historicity and capacity for change. Focusing on six key episodes across the twentieth century, the dissertation explores how various artists, architects, and memorial associations, adopted the concept of the monument to pursue specific social and political goals. It takes the architectural debates surrounding monumentality in the 1940s as a starting point and proceeds to examine five further instances in which the concept has been historically framed. These include Frederick William Sievers’s Monument to Matthew Fontaine Maury (1929), Barnett Newman’s Broken Obelisk (1963/9), Kara Walker’s Fons Americanus (2019), and the Franklin D. Roosevelt Memorial in Washington D.C. (1955-2001). A further chapter explores the status of the monument in the mid-1960s with a particular focus on how artists associated with minimalism drew upon past monument forms in their work, and the legacy of this interaction.
Throughout, I consider how much analytical weight the concept of the monument actually shoulders. I address the extent to which it is beholden to past definitions and forms, and explore how the study of the monument as a conceptual construct might highlight its critical and innovative potential. At a moment when the monument has become subject to widespread polemic, these issues have become all the more crucial. Reviewing the historical record, this dissertation demonstrates how the monument has operated across multiple discourses and suggests that the concept’s authority stems largely from its polyvalence.
2022-06-16T00:00:00ZFisher, ClareThis dissertation offers a critical history of the concept of monument in the United States from the Civil War to the present day. It is premised on the assumption that understanding the discursive and material dimensions of such categories is necessary in order to recognise their historicity and capacity for change. Focusing on six key episodes across the twentieth century, the dissertation explores how various artists, architects, and memorial associations, adopted the concept of the monument to pursue specific social and political goals. It takes the architectural debates surrounding monumentality in the 1940s as a starting point and proceeds to examine five further instances in which the concept has been historically framed. These include Frederick William Sievers’s Monument to Matthew Fontaine Maury (1929), Barnett Newman’s Broken Obelisk (1963/9), Kara Walker’s Fons Americanus (2019), and the Franklin D. Roosevelt Memorial in Washington D.C. (1955-2001). A further chapter explores the status of the monument in the mid-1960s with a particular focus on how artists associated with minimalism drew upon past monument forms in their work, and the legacy of this interaction.
Throughout, I consider how much analytical weight the concept of the monument actually shoulders. I address the extent to which it is beholden to past definitions and forms, and explore how the study of the monument as a conceptual construct might highlight its critical and innovative potential. At a moment when the monument has become subject to widespread polemic, these issues have become all the more crucial. Reviewing the historical record, this dissertation demonstrates how the monument has operated across multiple discourses and suggests that the concept’s authority stems largely from its polyvalence.Title redactedMackenzie-Dodds, Ramsay Alanhttps://hdl.handle.net/10023/279602023-08-11T09:47:20Z2023-11-29T00:00:00ZAbstract redacted
2023-11-29T00:00:00ZMackenzie-Dodds, Ramsay AlanAbstract redacted'Calligraphies of time' : the bombsite in the cultural imaginary of post-war BritainJain, Isabelle Nicolehttps://hdl.handle.net/10023/278462023-06-30T20:45:21Z2023-11-29T00:00:00ZOn 8 May 1945, Allied forces announced the unconditional surrender of Nazi Germany, marking the official end of the Second World War and igniting VE Day celebrations across Britain. The atmosphere throughout the country was electrifying; enormous crowds gathered in Piccadilly Circus in London’s city centre, as seen in iconic photographs of a sea of people around the Shaftesbury Memorial Fountain – popularly known as ‘Eros’ – with people scaling lampposts and even London buses. The mood was one of jubilation, relief, and disbelief: a collective sense of having escaped death. Soon, however, the air of celebration wore off. The people of Britain stepped out of their homes, free, but around them they saw destroyed cities – London, Birmingham, Coventry, Hull – landscapes bearing scars and craters left by bombs that had taken homes and lives. Although the war itself was over, life was now marked by the backdrop of the ever-present bombsite – some of which were left uncleared for decades – and anxieties around how to rebuild. This thesis examines the cultural significance of the bombsite in art and visual culture produced between 1945 and 1969 in Britain. Specifically, it considers how artists and practitioners responded to the material conditions of the bombsite, not its representation per se. I distinguish the bombsite from the ruin: ruins were sites to preserve, memorialise, intwined with the histories of the past. Bombsites, on the other hand, were temporally unstable, constantly shifting in their definition. Moving away from the idea that the bombsite was a wasteland, or a space of nothingness, I offer a nuanced, localised account of artistic and communal engagements with these sites. Each of the four chapters in this thesis demonstrates a different response to the bombsite. Some were retrogressive, shoring up traditional art practices in the face of trauma and destruction. Others were more radical, experimental, and politically and socially motivated. What emerges from a chronological development of this material is that the bombsite prompted responses that looked both forwards and backwards in time, producing a longer, more conflicted view of the post-war period. Instead of a linear progression from ruin to reconstruction, the works of art and visual culture I discuss illustrate how processes of decay and rebuilding were deeply entangled.
2023-11-29T00:00:00ZJain, Isabelle NicoleOn 8 May 1945, Allied forces announced the unconditional surrender of Nazi Germany, marking the official end of the Second World War and igniting VE Day celebrations across Britain. The atmosphere throughout the country was electrifying; enormous crowds gathered in Piccadilly Circus in London’s city centre, as seen in iconic photographs of a sea of people around the Shaftesbury Memorial Fountain – popularly known as ‘Eros’ – with people scaling lampposts and even London buses. The mood was one of jubilation, relief, and disbelief: a collective sense of having escaped death. Soon, however, the air of celebration wore off. The people of Britain stepped out of their homes, free, but around them they saw destroyed cities – London, Birmingham, Coventry, Hull – landscapes bearing scars and craters left by bombs that had taken homes and lives. Although the war itself was over, life was now marked by the backdrop of the ever-present bombsite – some of which were left uncleared for decades – and anxieties around how to rebuild. This thesis examines the cultural significance of the bombsite in art and visual culture produced between 1945 and 1969 in Britain. Specifically, it considers how artists and practitioners responded to the material conditions of the bombsite, not its representation per se. I distinguish the bombsite from the ruin: ruins were sites to preserve, memorialise, intwined with the histories of the past. Bombsites, on the other hand, were temporally unstable, constantly shifting in their definition. Moving away from the idea that the bombsite was a wasteland, or a space of nothingness, I offer a nuanced, localised account of artistic and communal engagements with these sites. Each of the four chapters in this thesis demonstrates a different response to the bombsite. Some were retrogressive, shoring up traditional art practices in the face of trauma and destruction. Others were more radical, experimental, and politically and socially motivated. What emerges from a chronological development of this material is that the bombsite prompted responses that looked both forwards and backwards in time, producing a longer, more conflicted view of the post-war period. Instead of a linear progression from ruin to reconstruction, the works of art and visual culture I discuss illustrate how processes of decay and rebuilding were deeply entangled.Power, piety and legacy : the patronage of bishop Louis d'Amboise in fifteenth-century LanguedocFaiers, Juliahttps://hdl.handle.net/10023/277852023-06-15T02:06:19Z2021-12-01T00:00:00ZLouis d'Amboise was bishop of Albi, in south-west France, from 1474 until his death in Lyon in 1503. During his episcopacy he commissioned a significant number of works for his cathedral and associated buildings, several of which survive. Existing scholarship on the subject of the bishop's patronage has thus far focused on the iconography of the programmes he commissioned, interpreting it uncritically as proof of the prelate's piety. Furthermore, French scholars have sought to establish the chronology of the individual works and programmes, and to identify the painters, architects and sculptors responsible for creating them. None has interrogated in depth the role of the patron, his motivations, or how this busy bishop, frequently absent from his diocese, would manage such extensive projects. Those scholars who have examined the bishop's art patronage have regarded him as the primary agent, a restrictive view that I challenge.
The main works Louis d'Amboise commissioned for Albi cathedral startle the modern viewer with their scale, grandeur and magnificence. Modern scholars have, however, paid little or no attention to a seemingly unmissable feature of these programmes - the explosion of heraldic imagery, dominated by the d'Amboise coat of arms applied to every conceivable surface and in a variety of media. I looked at these devices on their various supports and in different locations holistically in order to ascertain patterns and global meanings, and to place them within a wider context.
This thesis re-examines the monuments and programmes Louis d'Amboise commissioned through the theoretical lens of social hierarchies, drawing upon the methodologies of social historians and theorists Sherry Lindquist and Jacqueline Jung. I argue that the bishop's membership of an illustrious noble family shaped the patronage attributed to him, and I examine how his personal network of fixers and influencers contributed to the creation of these works. Through examination and analysis of the monuments and surviving documentary evidence, my research revealed a far more intricate picture of episcopal patronage than the academy had hitherto supplied.
2021-12-01T00:00:00ZFaiers, JuliaLouis d'Amboise was bishop of Albi, in south-west France, from 1474 until his death in Lyon in 1503. During his episcopacy he commissioned a significant number of works for his cathedral and associated buildings, several of which survive. Existing scholarship on the subject of the bishop's patronage has thus far focused on the iconography of the programmes he commissioned, interpreting it uncritically as proof of the prelate's piety. Furthermore, French scholars have sought to establish the chronology of the individual works and programmes, and to identify the painters, architects and sculptors responsible for creating them. None has interrogated in depth the role of the patron, his motivations, or how this busy bishop, frequently absent from his diocese, would manage such extensive projects. Those scholars who have examined the bishop's art patronage have regarded him as the primary agent, a restrictive view that I challenge.
The main works Louis d'Amboise commissioned for Albi cathedral startle the modern viewer with their scale, grandeur and magnificence. Modern scholars have, however, paid little or no attention to a seemingly unmissable feature of these programmes - the explosion of heraldic imagery, dominated by the d'Amboise coat of arms applied to every conceivable surface and in a variety of media. I looked at these devices on their various supports and in different locations holistically in order to ascertain patterns and global meanings, and to place them within a wider context.
This thesis re-examines the monuments and programmes Louis d'Amboise commissioned through the theoretical lens of social hierarchies, drawing upon the methodologies of social historians and theorists Sherry Lindquist and Jacqueline Jung. I argue that the bishop's membership of an illustrious noble family shaped the patronage attributed to him, and I examine how his personal network of fixers and influencers contributed to the creation of these works. Through examination and analysis of the monuments and surviving documentary evidence, my research revealed a far more intricate picture of episcopal patronage than the academy had hitherto supplied.Steeped in place : encountering Scotland in paintings of the seaBoyd, Joseph Jameshttps://hdl.handle.net/10023/277572023-06-09T02:07:10Z2023-11-29T00:00:00ZArt is analysed and understood most often in terms of who (the artist was) and when (the work was created). Where (the creative act occurred) is seldom considered as significant. However, human understanding of the world depends on spatiality as well as temporality. This thesis investigates spatiality in paintings of Scotland’s sea and coast.
The purpose of the research was threefold: firstly, to develop a conceptual framework of spatiality that could describe any painting; secondly to develop a suite of methods that situated painter, painting and geography; thirdly to apply the framework and methodology to the Scottish paintings of one artist, American Jon Schueler.
Three spatial concepts for analysing the Scottishness of paintings of the sea were characterised: space, place and scape. Interviews with six contemporary painters revealed geography’s phenomenological underpinning.
With paintings by Joan Eardley and William McTaggart, methods were developed to situate any artwork. These included well-proven visual analysis techniques, augmented by an original programme that extracted a colour palette from the painting’s image. With works by Janette Kerr and Will Maclean, methods were established to situate the artist. These included identifying which facets of place were incorporated into each painting, and how the artist’s discourse revealed a spatial understanding. Finally, McTaggart paintings were explored to situate their geography. This included using site visits to interpret a painting and compiling deep maps to compare and contrast the spatiality of paintings of Eastern Carnoustie with Western Machrihanish.
The concepts and methodology were then employed to scrutinise the complete inventory of Jon Schueler’s extant works. By situating paintings, artist and the geography of Mallaig using the developed methodology, Schueler was demonstrated to be strongly influenced by spatiality. The unique configuration of a Scottish place illuminated and clarified what he perceived in nature and how he responded to it. The case study suggested that with a sense of place, a painting of the sea provides an encounter with Scotland.
2023-11-29T00:00:00ZBoyd, Joseph JamesArt is analysed and understood most often in terms of who (the artist was) and when (the work was created). Where (the creative act occurred) is seldom considered as significant. However, human understanding of the world depends on spatiality as well as temporality. This thesis investigates spatiality in paintings of Scotland’s sea and coast.
The purpose of the research was threefold: firstly, to develop a conceptual framework of spatiality that could describe any painting; secondly to develop a suite of methods that situated painter, painting and geography; thirdly to apply the framework and methodology to the Scottish paintings of one artist, American Jon Schueler.
Three spatial concepts for analysing the Scottishness of paintings of the sea were characterised: space, place and scape. Interviews with six contemporary painters revealed geography’s phenomenological underpinning.
With paintings by Joan Eardley and William McTaggart, methods were developed to situate any artwork. These included well-proven visual analysis techniques, augmented by an original programme that extracted a colour palette from the painting’s image. With works by Janette Kerr and Will Maclean, methods were established to situate the artist. These included identifying which facets of place were incorporated into each painting, and how the artist’s discourse revealed a spatial understanding. Finally, McTaggart paintings were explored to situate their geography. This included using site visits to interpret a painting and compiling deep maps to compare and contrast the spatiality of paintings of Eastern Carnoustie with Western Machrihanish.
The concepts and methodology were then employed to scrutinise the complete inventory of Jon Schueler’s extant works. By situating paintings, artist and the geography of Mallaig using the developed methodology, Schueler was demonstrated to be strongly influenced by spatiality. The unique configuration of a Scottish place illuminated and clarified what he perceived in nature and how he responded to it. The case study suggested that with a sense of place, a painting of the sea provides an encounter with Scotland.The mechanics of mischief : genre painting and painting genres in the time of Louis XVDmitrieva, Sofyahttps://hdl.handle.net/10023/277432023-06-06T02:06:16Z2023-11-29T00:00:00ZThe present thesis is an invitation to systematic study of genre in the field of art history. To explore questions of genre, it turns to the genre painting of the time of Louis XV (r. 1715–1774). In many ways, genre painting was ‘the’ genre of the epoch. It adorned the walls of all – royal residences, aristocratic hôtels, and the Salon Carré of the Louvre, where the first French public exhibition was held. It was actively reproduced in print and used in the design of luxury goods – fans and snuffboxes, wallpaper and tapestries, tea sets and furniture. Imported from the Netherlands and reimagined by artists like Antoine Watteau (1684–1721), Jean-Baptiste-Siméon Chardin (1699–1779), François Boucher (1703–1770), Jean-Baptiste Greuze (1725–1805), and Jean-Honoré Fragonard (1732–1806), eighteenth-century genre painting was not a homogenous entity but a vast array of different categories – the tableau de mode, the fête galante, the fantasy figure, the military / hunting halt, the pastoral, and others – each with its own formal canon, market, and function. Yet, paradoxically, none of those were recognised by the theorists and critics of the time. Nor could they be found on the list of specialisations of the Académie royale de peinture et de sculpture, the most influential artistic institution of the time. It is this paradox between the omnipresence and the invisibility of genre painting in France of Louis XV that the present thesis attempts to resolve. By exploring the various functions – theoretical, sociohistorical, formal, and institutional – that genre painting performed at the time, it fills some gaps in the current research on French eighteenth-century painting and, at the same time, develops new methodological frameworks that can be used for the study of painting genres in future art historical scholarship.
2023-11-29T00:00:00ZDmitrieva, SofyaThe present thesis is an invitation to systematic study of genre in the field of art history. To explore questions of genre, it turns to the genre painting of the time of Louis XV (r. 1715–1774). In many ways, genre painting was ‘the’ genre of the epoch. It adorned the walls of all – royal residences, aristocratic hôtels, and the Salon Carré of the Louvre, where the first French public exhibition was held. It was actively reproduced in print and used in the design of luxury goods – fans and snuffboxes, wallpaper and tapestries, tea sets and furniture. Imported from the Netherlands and reimagined by artists like Antoine Watteau (1684–1721), Jean-Baptiste-Siméon Chardin (1699–1779), François Boucher (1703–1770), Jean-Baptiste Greuze (1725–1805), and Jean-Honoré Fragonard (1732–1806), eighteenth-century genre painting was not a homogenous entity but a vast array of different categories – the tableau de mode, the fête galante, the fantasy figure, the military / hunting halt, the pastoral, and others – each with its own formal canon, market, and function. Yet, paradoxically, none of those were recognised by the theorists and critics of the time. Nor could they be found on the list of specialisations of the Académie royale de peinture et de sculpture, the most influential artistic institution of the time. It is this paradox between the omnipresence and the invisibility of genre painting in France of Louis XV that the present thesis attempts to resolve. By exploring the various functions – theoretical, sociohistorical, formal, and institutional – that genre painting performed at the time, it fills some gaps in the current research on French eighteenth-century painting and, at the same time, develops new methodological frameworks that can be used for the study of painting genres in future art historical scholarship.Building a New University : a study of the buildings and related interiors at the University of St Andrews, c.1890-1914Burdge, Jessica Annehttps://hdl.handle.net/10023/276782023-05-31T21:25:42Z2023-06-15T00:00:00ZIn his Opening Address of the 1910-11 session, Principal Donaldson looked forward with pride and optimism to the ‘500th year of the existence of the University’ of St Andrews. An anniversary that it may not have reached had the intentions of the 1883 Universities (Scotland) Bill to dissolve the University, been enacted. In the twenty-five years of his Principalship, from 1890 – 1915, the University of St Andrews had undergone a transformation from an institution that was struggling financially, with ‘ruinous’ buildings and decreasing student numbers; to a financially stable institution that had expanded on all fronts to lay the foundations of the modern University. In response to the changes instigated by the Universities (Scotland) Act of 1889, and under the determined leadership of James Donaldson, the University of St Andrews had reasserted and redefined its identity. This thesis brings together educational and architectural histories, to examine the influence of the juxtapositions of historic and modern, Scottish and English, on the developing identity of the institution of the University of St Andrews, as it transitioned to the modern era. The thesis takes an interdisciplinary approach in order to investigate the development of the built environment as intertwined with, and as a physical expression of, the changing institutional identity.
This thesis studies a selection of new building work, significant refurbishments, and associated interiors or furniture items, created at the University of St Andrews between 1889 and 1914. It examines the relationship between a notable period of building activity and the educational, institutional, and sociological changes that took place. It concentrates on the developing University purpose, as well as architectural preferences of the time that came together to define the multi-layered identity of the newly-formed University of St Andrews.
Through each of the case studies, this thesis examines the implications of the 1889 Act in prompting Principal Donaldson and his colleagues to pursue physical expansion. As such, links between the buildings and the changing concept of university education are highlighted, alongside the greater influence of donors and philanthropists such as the Marquis of Bute and Andrew Carnegie, and the University’s freedom to choose its architects, who range from the nationally acclaimed figures of Robert Rowand Anderson and Robert Lorimer, to local house designers Gillespie & Scott and Mills & Shepherd.
The works are examined against the backdrop of the period’s architectural emphasis on a national style relying on historic examples, and the potential conflict this brought with it between style and function, preservation and modernisation. The attempts of the architects to express the University identity within the context of Scotland’s oldest University and a developing modern purpose are compared and evaluated as a parallel to the complex delineations of Scottish and English education systems that dominated much of the debate on university reform at the same time.
In conclusion, the works are re-considered together as a narrative for this important period of change, when the University of St Andrews was striving to flourish in response to modern needs and expectations. In doing so, it claims the recognition due to Principal James Donaldson as the most influential figure in this process to resurrect the fortunes of the University.
2023-06-15T00:00:00ZBurdge, Jessica AnneIn his Opening Address of the 1910-11 session, Principal Donaldson looked forward with pride and optimism to the ‘500th year of the existence of the University’ of St Andrews. An anniversary that it may not have reached had the intentions of the 1883 Universities (Scotland) Bill to dissolve the University, been enacted. In the twenty-five years of his Principalship, from 1890 – 1915, the University of St Andrews had undergone a transformation from an institution that was struggling financially, with ‘ruinous’ buildings and decreasing student numbers; to a financially stable institution that had expanded on all fronts to lay the foundations of the modern University. In response to the changes instigated by the Universities (Scotland) Act of 1889, and under the determined leadership of James Donaldson, the University of St Andrews had reasserted and redefined its identity. This thesis brings together educational and architectural histories, to examine the influence of the juxtapositions of historic and modern, Scottish and English, on the developing identity of the institution of the University of St Andrews, as it transitioned to the modern era. The thesis takes an interdisciplinary approach in order to investigate the development of the built environment as intertwined with, and as a physical expression of, the changing institutional identity.
This thesis studies a selection of new building work, significant refurbishments, and associated interiors or furniture items, created at the University of St Andrews between 1889 and 1914. It examines the relationship between a notable period of building activity and the educational, institutional, and sociological changes that took place. It concentrates on the developing University purpose, as well as architectural preferences of the time that came together to define the multi-layered identity of the newly-formed University of St Andrews.
Through each of the case studies, this thesis examines the implications of the 1889 Act in prompting Principal Donaldson and his colleagues to pursue physical expansion. As such, links between the buildings and the changing concept of university education are highlighted, alongside the greater influence of donors and philanthropists such as the Marquis of Bute and Andrew Carnegie, and the University’s freedom to choose its architects, who range from the nationally acclaimed figures of Robert Rowand Anderson and Robert Lorimer, to local house designers Gillespie & Scott and Mills & Shepherd.
The works are examined against the backdrop of the period’s architectural emphasis on a national style relying on historic examples, and the potential conflict this brought with it between style and function, preservation and modernisation. The attempts of the architects to express the University identity within the context of Scotland’s oldest University and a developing modern purpose are compared and evaluated as a parallel to the complex delineations of Scottish and English education systems that dominated much of the debate on university reform at the same time.
In conclusion, the works are re-considered together as a narrative for this important period of change, when the University of St Andrews was striving to flourish in response to modern needs and expectations. In doing so, it claims the recognition due to Principal James Donaldson as the most influential figure in this process to resurrect the fortunes of the University.Resisting overdetermination, destabilising representation : African American artists performing for the camera since the 1970sMajewska, Martyna Ewahttps://hdl.handle.net/10023/272002023-12-01T11:28:28Z2022-06-16T00:00:00ZThis thesis posits performance for the camera, exemplified by selected practices of contemporary African American artists, as a means of exploring the construction and fixation of identities and a strategy for dismantling hegemonic conceptions of race and gender. Studying the work of Adrian Piper, Glenn Ligon, Lyle Ashton Harris, Senga Nengudi, Maren Hassinger, Howardena Pindell, David Hammons and Pope.L, it examines the ways in which these artists incorporate embodied performance and personal information into their practices simultaneously foreclosing autobiographical readings and challenging interpretations overdetermined by race, gender and sexuality. In these practices, the image production of performance engages in dialogues with existing representations, highlighting the limited capacity of photographic imagery – and representation more broadly – to give voice to individual positionalities and nonconformist sensibilities. Shedding light on discords between individual and group representations, especially in the wake of the civil rights movement and second-wave feminism, the artists in question gestured towards artistic explorations that decades later became codified as a novel genre of post-black art. These artists destabilised the performative agency of performing for the camera, revealing the biases and abstractions inherent to photographic and video processes. Artistic methodologies examined in this thesis deny photographic technologies of reproduction their often assumed transparency, calling into question the role of the camera as a transmitter of historical and personal truths. Finally, analyses comprising this thesis point to the use of performance-generated images as critiques of entrenched racial biases of camera technologies. This thesis constitutes an intervention into dominant theories of performance, its mediation and mediatisation, and exposes their imbrication in white, Western, neoliberal viewpoints. It argues that the selected practices offer innovative approaches to embodiment, representation, abstraction and performativity – approaches that have been overlooked in theoretical scholarship due to their overdetermination with race and ethnicity.
2022-06-16T00:00:00ZMajewska, Martyna EwaThis thesis posits performance for the camera, exemplified by selected practices of contemporary African American artists, as a means of exploring the construction and fixation of identities and a strategy for dismantling hegemonic conceptions of race and gender. Studying the work of Adrian Piper, Glenn Ligon, Lyle Ashton Harris, Senga Nengudi, Maren Hassinger, Howardena Pindell, David Hammons and Pope.L, it examines the ways in which these artists incorporate embodied performance and personal information into their practices simultaneously foreclosing autobiographical readings and challenging interpretations overdetermined by race, gender and sexuality. In these practices, the image production of performance engages in dialogues with existing representations, highlighting the limited capacity of photographic imagery – and representation more broadly – to give voice to individual positionalities and nonconformist sensibilities. Shedding light on discords between individual and group representations, especially in the wake of the civil rights movement and second-wave feminism, the artists in question gestured towards artistic explorations that decades later became codified as a novel genre of post-black art. These artists destabilised the performative agency of performing for the camera, revealing the biases and abstractions inherent to photographic and video processes. Artistic methodologies examined in this thesis deny photographic technologies of reproduction their often assumed transparency, calling into question the role of the camera as a transmitter of historical and personal truths. Finally, analyses comprising this thesis point to the use of performance-generated images as critiques of entrenched racial biases of camera technologies. This thesis constitutes an intervention into dominant theories of performance, its mediation and mediatisation, and exposes their imbrication in white, Western, neoliberal viewpoints. It argues that the selected practices offer innovative approaches to embodiment, representation, abstraction and performativity – approaches that have been overlooked in theoretical scholarship due to their overdetermination with race and ethnicity.Dissecting museums : understanding medical human remains as institutional betrayalBlack, Emmahttps://hdl.handle.net/10023/269002023-02-10T11:07:10Z2022-11-30T00:00:00ZHistorical medical human remains were created for research through dissection, mainly without gaining consent from the deceased or the deceased’s family. Hard tissue (bone and teeth) and soft tissue (internal organs and the tissue that surrounds, supports and connects to them) were procured through acknowledged acts of punitive justice, illegal acts of grave robbing, murder and medical entitlement. This abuse is not hidden. Beyond the ‘heroic discovery – or heroic squabbling’ of developing medicine, the social history of medicine demonstrates how medical human remains are ‘rooted, unambiguously, in human cruelty and misery’. Yet, discussions on this topic in medical museums are often reframed as arguments suggesting that the harm caused was mitigated by advancement of medical research. Similarly, arguments that discount the active discrimination behind these acts by suggesting ignorance or differing moral values of the time as reasonable justification are prevalent in this area. By drawing from the field of trauma psychology and my own reflexive practice, this study aims to step away from these often circular arguments and focus directly on the human cost of medical human remains and the modern implications for museum professionals and visitors. Through the chapters of this study, I aim to provide information and knowledge gained from my own experience in working with medical human remains in the hope that it will protect both the living and dead. Ultimately, this study issues a call to courage, to remove medical human remains from display, and for the wider museum community to draw upon this study to recognise and address the impact of all forms of discriminations.
2022-11-30T00:00:00ZBlack, EmmaHistorical medical human remains were created for research through dissection, mainly without gaining consent from the deceased or the deceased’s family. Hard tissue (bone and teeth) and soft tissue (internal organs and the tissue that surrounds, supports and connects to them) were procured through acknowledged acts of punitive justice, illegal acts of grave robbing, murder and medical entitlement. This abuse is not hidden. Beyond the ‘heroic discovery – or heroic squabbling’ of developing medicine, the social history of medicine demonstrates how medical human remains are ‘rooted, unambiguously, in human cruelty and misery’. Yet, discussions on this topic in medical museums are often reframed as arguments suggesting that the harm caused was mitigated by advancement of medical research. Similarly, arguments that discount the active discrimination behind these acts by suggesting ignorance or differing moral values of the time as reasonable justification are prevalent in this area. By drawing from the field of trauma psychology and my own reflexive practice, this study aims to step away from these often circular arguments and focus directly on the human cost of medical human remains and the modern implications for museum professionals and visitors. Through the chapters of this study, I aim to provide information and knowledge gained from my own experience in working with medical human remains in the hope that it will protect both the living and dead. Ultimately, this study issues a call to courage, to remove medical human remains from display, and for the wider museum community to draw upon this study to recognise and address the impact of all forms of discriminations.Carta azzurra / blauw papier : drawing on blue paper in Italy and the Netherlands, ca. 1450–ca. 1660McCarthy, Alexa Jayehttps://hdl.handle.net/10023/261582023-12-01T12:02:15Z2022-11-30T00:00:00ZThis doctoral dissertation explores the transcultural use of the material of blue paper for figure studies and figural compositions by artists working in sixteenth-century Venice and seventeenth-century Amsterdam. The research focuses on artists’ use of blue paper made with blue fibres, or that which is coloured blue during its production, rather than neutral papers that are prepared with a coloured wash. Blue paper provided a readily available mid-tone and its texture allowed friable drawing implements like chalk and charcoal to be absorbed into the paper at varying degrees. This interplay contributed to the achievement of rilievo, or the ability to model three-dimensional forms in space on a flat surface. Understanding the broader artistic, cultural, and theoretical frameworks that led to the employment of blue paper in these two centres of commercial and artistic exchange is central to our understanding of the material’s role in early modern artistic practice, as well as to our interpretations of the drawings themselves. Through object-based, technical, and archival research, as well as analyses of contemporary texts on art, this research is inherently interdisciplinary in examining the significance of the role of blue paper in Italian and Dutch artistic practice and stylistic development.
2022-11-30T00:00:00ZMcCarthy, Alexa JayeThis doctoral dissertation explores the transcultural use of the material of blue paper for figure studies and figural compositions by artists working in sixteenth-century Venice and seventeenth-century Amsterdam. The research focuses on artists’ use of blue paper made with blue fibres, or that which is coloured blue during its production, rather than neutral papers that are prepared with a coloured wash. Blue paper provided a readily available mid-tone and its texture allowed friable drawing implements like chalk and charcoal to be absorbed into the paper at varying degrees. This interplay contributed to the achievement of rilievo, or the ability to model three-dimensional forms in space on a flat surface. Understanding the broader artistic, cultural, and theoretical frameworks that led to the employment of blue paper in these two centres of commercial and artistic exchange is central to our understanding of the material’s role in early modern artistic practice, as well as to our interpretations of the drawings themselves. Through object-based, technical, and archival research, as well as analyses of contemporary texts on art, this research is inherently interdisciplinary in examining the significance of the role of blue paper in Italian and Dutch artistic practice and stylistic development.The digital medieval manuscript : approaches to digital codicologyVan Haaren, Suzettehttps://hdl.handle.net/10023/257712023-06-14T14:48:57Z2022-06-16T00:00:00ZThis thesis explores how digitisation affects the way we perceive, handle, encounter, keep, preserve, and understand medieval manuscripts. With digitisation gaining ever-more importance, today, we encounter medieval manuscripts mostly in their digital form. This study reflects on how medieval manuscripts function and move as cultural (devotional, historical, archival, heritage) objects in an increasingly digital culture.
Chapter 1 comprises a theoretical and methodological framework which discusses relevant ideas about codicology, (digital) materials and materiality, reproduction and copying. This thesis uses digital codicology to analyse the core case studies’ material elements, its place as cultural object and carrier of knowledge and tradition, and its position in history, in relation to the physical manuscript.
Chapter 2 explores the Bury Bible (CCCC, ms. 2) and looks into how the digital facsimile is made and what digitisation practices mean for how the Bury Bible is revealed to or obscured for the audience in digital space. The chapter considers how the manuscript’s material properties are presented the digital object, and what this brings to light about its intellectual, cultural and institutional contexts.
Chapter 3 looks at a Der naturen bloeme manuscript (KB, KA16), focusing on the ways in which digitisation facilitates fragmentation and the hyper-expansion of the manuscript, fostering re-use and appropriation in social media environments. The chapter thinks about how the digital manuscript functions in larger cultural narratives and how it is used once it enters seemingly unbound digital space.
Chapter 4 details the prayer book of Mary of Guelders (SBB-PK, ms. germ. qu. 41 and ÖNB, cod. 1908) explores ideas about fragility, looking at how the manuscript is sustained in digital space, and how, in turn, the fragile material of the digital object is often disregarded. It studies the relationship between digitisation and preservation practices, and how this affects meaning and value we ascribe to the manuscript and the digital facsimile.
2022-06-16T00:00:00ZVan Haaren, SuzetteThis thesis explores how digitisation affects the way we perceive, handle, encounter, keep, preserve, and understand medieval manuscripts. With digitisation gaining ever-more importance, today, we encounter medieval manuscripts mostly in their digital form. This study reflects on how medieval manuscripts function and move as cultural (devotional, historical, archival, heritage) objects in an increasingly digital culture.
Chapter 1 comprises a theoretical and methodological framework which discusses relevant ideas about codicology, (digital) materials and materiality, reproduction and copying. This thesis uses digital codicology to analyse the core case studies’ material elements, its place as cultural object and carrier of knowledge and tradition, and its position in history, in relation to the physical manuscript.
Chapter 2 explores the Bury Bible (CCCC, ms. 2) and looks into how the digital facsimile is made and what digitisation practices mean for how the Bury Bible is revealed to or obscured for the audience in digital space. The chapter considers how the manuscript’s material properties are presented the digital object, and what this brings to light about its intellectual, cultural and institutional contexts.
Chapter 3 looks at a Der naturen bloeme manuscript (KB, KA16), focusing on the ways in which digitisation facilitates fragmentation and the hyper-expansion of the manuscript, fostering re-use and appropriation in social media environments. The chapter thinks about how the digital manuscript functions in larger cultural narratives and how it is used once it enters seemingly unbound digital space.
Chapter 4 details the prayer book of Mary of Guelders (SBB-PK, ms. germ. qu. 41 and ÖNB, cod. 1908) explores ideas about fragility, looking at how the manuscript is sustained in digital space, and how, in turn, the fragile material of the digital object is often disregarded. It studies the relationship between digitisation and preservation practices, and how this affects meaning and value we ascribe to the manuscript and the digital facsimile.Title redactedBarghi, Yasminhttps://hdl.handle.net/10023/238812021-09-01T14:01:12Z2021-12-01T00:00:00Z2021-12-01T00:00:00ZBarghi, Yasmin‘Per eccitar il popolo al concorso et alla divotione' : art, music and liturgy between ‘Pietas’ and ‘Magnificenza’ at the Confraternity of the Misericordia Maggiore on the Venetian mainland (15th-17th c.)Vai, Emanuelahttps://hdl.handle.net/10023/235952021-07-16T14:00:41Z2016-06-23T00:00:00ZThis research investigates the relationship between sacred space and its function in a comparative way through a case study in the Venetian Republic between the 16th and 17th centuries, a key transitional period. Through an interdisciplinary approach, it seeks to understand the organisation of the space in relation to its function, form and spatiality.
To date scholarly research has tended to focus the attention on the most
famous centre of artistic production in Renaissance Italy. These studies, undoubtedly
valuable, lead to relative neglect of provinces and their local identities, and run the risk
misrepresenting the complexity of the 16th century. Furthermore, the existing literature
is far too often limited to an examination of a single piece of art and rarely explored as
multifaceted phenomenon.
By studying the ways in which liturgical and musical needs influence church interior, this thesis addresses these issues by means of a main case study on the westernmost boundaries of the Venetian mainland empire, the Basilica of Santa Maria Maggiore in Bergamo, which is explored through the interconnections of the church with the Confraternity of the Misericordia Maggiore, proprietor of the Basilica, as well as with other larger regional processes.
Analyses of the 16th and 17th centuries manuscripts sources are critical to this approach as they shed light on contemporaneous negotiation of local political and religious imperatives. By interpreting patterns of source-survival and employing hitherto unexamined sources, it is possible to understand the history of the sacred space of the Bergamask Basilica as a local but significant case in the Renaissance Venetian Republic, in which the life of the confraternity influenced and shaped both space and liturgy for a common purpose: 'per eccitar il popolo al concorso et alla divotione'.
2016-06-23T00:00:00ZVai, EmanuelaThis research investigates the relationship between sacred space and its function in a comparative way through a case study in the Venetian Republic between the 16th and 17th centuries, a key transitional period. Through an interdisciplinary approach, it seeks to understand the organisation of the space in relation to its function, form and spatiality.
To date scholarly research has tended to focus the attention on the most
famous centre of artistic production in Renaissance Italy. These studies, undoubtedly
valuable, lead to relative neglect of provinces and their local identities, and run the risk
misrepresenting the complexity of the 16th century. Furthermore, the existing literature
is far too often limited to an examination of a single piece of art and rarely explored as
multifaceted phenomenon.
By studying the ways in which liturgical and musical needs influence church interior, this thesis addresses these issues by means of a main case study on the westernmost boundaries of the Venetian mainland empire, the Basilica of Santa Maria Maggiore in Bergamo, which is explored through the interconnections of the church with the Confraternity of the Misericordia Maggiore, proprietor of the Basilica, as well as with other larger regional processes.
Analyses of the 16th and 17th centuries manuscripts sources are critical to this approach as they shed light on contemporaneous negotiation of local political and religious imperatives. By interpreting patterns of source-survival and employing hitherto unexamined sources, it is possible to understand the history of the sacred space of the Bergamask Basilica as a local but significant case in the Renaissance Venetian Republic, in which the life of the confraternity influenced and shaped both space and liturgy for a common purpose: 'per eccitar il popolo al concorso et alla divotione'.Searching for photography’s realismLiu, Weitianhttps://hdl.handle.net/10023/235312021-07-21T13:52:33Z2021-07-01T00:00:00ZThis dissertation addresses the notion of photography’s realism with reference to recent theorisations of photography that affirm the medium’s social and political dimension. Formulated as at once an interpretive framework for considering the current status of photography and a realist strategy capable of fostering critical understandings of the operation of photography and its truth-claims, photography’s realism is brought into play in three case studies, each related to an established use of photography. The first case study looks at photographs taken by Edinburgh-based photographer Franki Raffles for the Zero Tolerance campaign which was aimed at increasing public awareness of domestic violence against women and children. The second case study turns to the practice of photojournalism related to the 2019 Hong Kong protests, focusing on a multi-media presentation published by the New York Times. The last case study traces the political trajectory of photographs taken of a bombardment in Rafah in 2014 from the moment of their production to a counter-forensic investigation conducted by Goldsmiths-based research agency Forensic Architecture. The discussion of how photographic events and practices operate in the three case studies leads to a reflection on the notion of photographic truth in the conclusion. In traversing three practices of photography, this dissertation gauges the usefulness and limitations of both old and new perspectives regarding photography’s realism, and along the way examines persistent anxieties and tensions at the heart of photography’s claim to truth.
2021-07-01T00:00:00ZLiu, WeitianThis dissertation addresses the notion of photography’s realism with reference to recent theorisations of photography that affirm the medium’s social and political dimension. Formulated as at once an interpretive framework for considering the current status of photography and a realist strategy capable of fostering critical understandings of the operation of photography and its truth-claims, photography’s realism is brought into play in three case studies, each related to an established use of photography. The first case study looks at photographs taken by Edinburgh-based photographer Franki Raffles for the Zero Tolerance campaign which was aimed at increasing public awareness of domestic violence against women and children. The second case study turns to the practice of photojournalism related to the 2019 Hong Kong protests, focusing on a multi-media presentation published by the New York Times. The last case study traces the political trajectory of photographs taken of a bombardment in Rafah in 2014 from the moment of their production to a counter-forensic investigation conducted by Goldsmiths-based research agency Forensic Architecture. The discussion of how photographic events and practices operate in the three case studies leads to a reflection on the notion of photographic truth in the conclusion. In traversing three practices of photography, this dissertation gauges the usefulness and limitations of both old and new perspectives regarding photography’s realism, and along the way examines persistent anxieties and tensions at the heart of photography’s claim to truth.The portfolio of fifteen drawings by Wyndham Lewis, 1919 : a historical, technical and critical analysisWallace, Catherinehttps://hdl.handle.net/10023/219562022-03-01T10:07:55Z1990-01-01T00:00:00ZThe aim of this thesis is to explore the nature of the portfolio of Fifteen Drawings by Wyndham Lewis as a work of graphic art. Questions regarding the publishing, printing and criticism of the portfolio are the basis for the discussion in this thesis. In chapter one the nature of the Ovid Press (which published and printed the portfolio), is placed into a historical context by making some comparisons with other contemporary British private presses. Lewis's portfolio is then set in context by analyzing some other Ovid Press productions. They included portfolios by Gaudier-Brzeska and Edward Wadsworth. The printing of the portfolio of Fifteen Drawings is then analyzed with an accompanying description of the techniques and processes involved. Historical evidence is used to illuminate Lewis's involvement in the printing process and his dealings with the Ovid Press in general. Chapter three involves an analysis of the critical reception of the portfolio. This explores the currency of art criticism and discusses to what extent the critics fully understood the nuances of Lewis's art, c.1920. The fourth chapter offers an interpretation regarding Lewis's choice of the fifteen drawings included in the folio. This requires a detailed analysis of the themes of Lewis's art from 1912-1919 as the drawings in the portfolio offer a retrospective of his art covered by this period. In conclusion the importance of the portfolio to both Lewis's own career and its significance to the avant-garde in British art has been evaluated. As an appendix, the production of the portfolio is discussed in terms of its social significance and as an alternative to publication merely to serve the commercial art market. This includes a review of Lewis's involvement in the Arts League of Service portfolio scheme c.1924.
1990-01-01T00:00:00ZWallace, CatherineThe aim of this thesis is to explore the nature of the portfolio of Fifteen Drawings by Wyndham Lewis as a work of graphic art. Questions regarding the publishing, printing and criticism of the portfolio are the basis for the discussion in this thesis. In chapter one the nature of the Ovid Press (which published and printed the portfolio), is placed into a historical context by making some comparisons with other contemporary British private presses. Lewis's portfolio is then set in context by analyzing some other Ovid Press productions. They included portfolios by Gaudier-Brzeska and Edward Wadsworth. The printing of the portfolio of Fifteen Drawings is then analyzed with an accompanying description of the techniques and processes involved. Historical evidence is used to illuminate Lewis's involvement in the printing process and his dealings with the Ovid Press in general. Chapter three involves an analysis of the critical reception of the portfolio. This explores the currency of art criticism and discusses to what extent the critics fully understood the nuances of Lewis's art, c.1920. The fourth chapter offers an interpretation regarding Lewis's choice of the fifteen drawings included in the folio. This requires a detailed analysis of the themes of Lewis's art from 1912-1919 as the drawings in the portfolio offer a retrospective of his art covered by this period. In conclusion the importance of the portfolio to both Lewis's own career and its significance to the avant-garde in British art has been evaluated. As an appendix, the production of the portfolio is discussed in terms of its social significance and as an alternative to publication merely to serve the commercial art market. This includes a review of Lewis's involvement in the Arts League of Service portfolio scheme c.1924.Millet and the French peasant : the artist as social historianMiller, Catrionahttps://hdl.handle.net/10023/219572022-03-01T10:31:07Z1990-01-01T00:00:00ZThe intention of this thesis is to bring together both art and social history in order to achieve a greater understanding of Millet and the world which he painted. New evidence on the artist is hard to come by but nineteenth century French rural history is an on-going source of study which art historians cannot afford to ignore.
The thesis is divided into two sections, each of which has distinctive aims but which are ultimately linked in the conclusion. The first concentrates on a survey of the artist's life, combining specific and aften well-known facts with more general research on France. The intention is to reinterpret Millet's life; to establish the strength of his peasant background and the hold which it retained upon him throughout his life.
The second section leads on from this by discussing a broad cross-section of the artist's work in terms of recent historical study. Whilst the emphasis is on Millet's pictures of the peasantry, all his work can be seen in similar terms. It is divided into historical rather than pictorial categories with the aim of establishing the validity of the work as social history evidence. As the conclusion states, this method of studying the artist establishes the importance of Millet- as the one, accurate portrayer of rural life of the period, whose sympathies and understanding lay with the peasantry and influenced his whole art.
1990-01-01T00:00:00ZMiller, CatrionaThe intention of this thesis is to bring together both art and social history in order to achieve a greater understanding of Millet and the world which he painted. New evidence on the artist is hard to come by but nineteenth century French rural history is an on-going source of study which art historians cannot afford to ignore.
The thesis is divided into two sections, each of which has distinctive aims but which are ultimately linked in the conclusion. The first concentrates on a survey of the artist's life, combining specific and aften well-known facts with more general research on France. The intention is to reinterpret Millet's life; to establish the strength of his peasant background and the hold which it retained upon him throughout his life.
The second section leads on from this by discussing a broad cross-section of the artist's work in terms of recent historical study. Whilst the emphasis is on Millet's pictures of the peasantry, all his work can be seen in similar terms. It is divided into historical rather than pictorial categories with the aim of establishing the validity of the work as social history evidence. As the conclusion states, this method of studying the artist establishes the importance of Millet- as the one, accurate portrayer of rural life of the period, whose sympathies and understanding lay with the peasantry and influenced his whole art.Italian Renaissance collecting of Classical antiquities : Ferdinando de' Medici and the Villa Medici in RomeBrandi, Carahttps://hdl.handle.net/10023/219442022-02-24T11:21:18Z2001-01-01T00:00:00ZIn 1569 Ferdinando de' Medici arrived in Rome to take up his position as Cardinal. Immediately upon his arrival he began to collect classical antique sculpture and by 1576 he had begun to transform a newly purchased property into a Roman suburban villa. The projects which Ferdinando undertook to transform his villa, which directly centred on the display of his antiquities collection, followed design and decorative traditions employed at other previous and contemporary villas and yet was also unusual. In this study four main design and decorative phenomena, including the statue gallery, the garden herms, the obelisk and the Niobe group, are studied in detail as part of Ferdinando's development of the Villa Medici in Rome. Ferdinando's objectives as an antiquities patron were shaped by the personal and political context of his role within the Medici family and its lineage, and his career in the Vatican. These elements are all drawn together to understand their impact on his development of the Villa Medici. As Ferdinando's transformation of the Villa Medici evolved over time, the existence of the statue gallery and garden herms reflected his early desire to create a property whose design and decoration could be compared with others like it in Rome, while also reflecting contemporary ideas developed outside of the city. In his use of an obelisk Ferdinando made clear associations with the urban renewal projects of Pope Sixtus V, and also made associations to his Florentine Medici lineage and Rome's ancient heritage. With the Niobe group, however, Ferdinando also began to define himself as one of the foremost patrons of antique sculpture in Rome. Ultimately, this study defines the purpose and meaning of Ferdinando de' Medici's antiquities collection and his development of the Villa Medici in Rome.
2001-01-01T00:00:00ZBrandi, CaraIn 1569 Ferdinando de' Medici arrived in Rome to take up his position as Cardinal. Immediately upon his arrival he began to collect classical antique sculpture and by 1576 he had begun to transform a newly purchased property into a Roman suburban villa. The projects which Ferdinando undertook to transform his villa, which directly centred on the display of his antiquities collection, followed design and decorative traditions employed at other previous and contemporary villas and yet was also unusual. In this study four main design and decorative phenomena, including the statue gallery, the garden herms, the obelisk and the Niobe group, are studied in detail as part of Ferdinando's development of the Villa Medici in Rome. Ferdinando's objectives as an antiquities patron were shaped by the personal and political context of his role within the Medici family and its lineage, and his career in the Vatican. These elements are all drawn together to understand their impact on his development of the Villa Medici. As Ferdinando's transformation of the Villa Medici evolved over time, the existence of the statue gallery and garden herms reflected his early desire to create a property whose design and decoration could be compared with others like it in Rome, while also reflecting contemporary ideas developed outside of the city. In his use of an obelisk Ferdinando made clear associations with the urban renewal projects of Pope Sixtus V, and also made associations to his Florentine Medici lineage and Rome's ancient heritage. With the Niobe group, however, Ferdinando also began to define himself as one of the foremost patrons of antique sculpture in Rome. Ultimately, this study defines the purpose and meaning of Ferdinando de' Medici's antiquities collection and his development of the Villa Medici in Rome.The best Pompeii in Scotland : 'A series of calotype views of St. Andrews' by David Octavius Hill and Robert AdamsonSchoonhoven, Anne Mariehttps://hdl.handle.net/10023/218952022-01-05T16:09:13Z2002-01-01T00:00:00ZPhotography had some of its earliest applications in Scotland, at St. Andrews, as a result of the friendship and collaboration between Sir David Brewster, Principal of the United College of St Leonard and St Salvator, and William Henry Fox Talbot, inventor of the photogenic drawing and calotype processes. Given the limitations of the new art of photography in its early stages of development, stable objects were critical to the success of its images. Architectural monuments therefore presented themselves as interesting and cooperative subjects. Moreover, with this choice of subject, photography joined a pre-existing tradition of illustrating famous architectural monuments, a tradition for which there was already a popular market and a set of established conventions governing how buildings were to be recorded. This thesis investigates the manner in which the calotype followed or expanded upon previously established conventions of documenting architecture. More specifically, it is concerned to explore the extent to which the tradition of photography in St. Andrews reinforced the prominence of particular buildings and influenced the way in which these buildings were depicted. It will do so through a consideration of the technical aspects of the calotype process, and through a detailed investigation of A Series of Calotype Views of St. Andrews, by David Octavius Hill and Robert Adamson. This album is one of the earliest instances of, and an elaborate attempt at, recording prominent buildings using the calotype process. The thesis will compare these photographic views with the tradition of pre-photographic representations of the same subjects, to see what similarities exist, and where the photographic views depart from this tradition.
2002-01-01T00:00:00ZSchoonhoven, Anne MariePhotography had some of its earliest applications in Scotland, at St. Andrews, as a result of the friendship and collaboration between Sir David Brewster, Principal of the United College of St Leonard and St Salvator, and William Henry Fox Talbot, inventor of the photogenic drawing and calotype processes. Given the limitations of the new art of photography in its early stages of development, stable objects were critical to the success of its images. Architectural monuments therefore presented themselves as interesting and cooperative subjects. Moreover, with this choice of subject, photography joined a pre-existing tradition of illustrating famous architectural monuments, a tradition for which there was already a popular market and a set of established conventions governing how buildings were to be recorded. This thesis investigates the manner in which the calotype followed or expanded upon previously established conventions of documenting architecture. More specifically, it is concerned to explore the extent to which the tradition of photography in St. Andrews reinforced the prominence of particular buildings and influenced the way in which these buildings were depicted. It will do so through a consideration of the technical aspects of the calotype process, and through a detailed investigation of A Series of Calotype Views of St. Andrews, by David Octavius Hill and Robert Adamson. This album is one of the earliest instances of, and an elaborate attempt at, recording prominent buildings using the calotype process. The thesis will compare these photographic views with the tradition of pre-photographic representations of the same subjects, to see what similarities exist, and where the photographic views depart from this tradition.Some otherwhere : Édouard Glissant and the Caribbean landscape in contemporary artKeohane, Katehttps://hdl.handle.net/10023/217882021-04-07T14:00:35Z2020-12-02T00:00:00ZOver the past two decades, Édouard Glissant’s writings have gained ever-increasing prominence in the fields of post-colonial theory, Caribbean studies, and Francophone literature. They have also been widely used in art and exhibition practice as a ‘tool-kit’ for the display of works relating to themes of globalisation, migration, and diaspora. Glissant was interested and engaged in the arts during his lifetime, but it is not, however, this work that has gained in popularity. Instead, short quotations from his theoretical texts, or isolated terms, including ‘opacity’, ‘relation’, and ‘creolisation’, are utilised in extraction. This thesis returns to the conceptual possibilities of Glissant’s geo-poetic terms for the analysis of art that conveys the Caribbean landscape.
Although it is undeniable that Glissant’s writings have a global resonance, his central and repeating tropes are fundamentally embedded in the imagery and experience of the Caribbean archipelago. Against the aims of a colonial project that rationalises and stabilises through the instrumentalisation and control of nature, Glissant’s concept of the Otherwhere – a space that is simultaneously lived and imagined – is proposed throughout this research as a lens through which to incorporate post-colonial discourse within the analysis of identity, ecology, and visual art. In so doing, my work exposes the limits of schemas of visibility and representation that preclude multiplicity and performativity, and offers imaginative ways of figuring relations between individuals and their encounters with landscapes.
Under the chapters ‘The Sea’, ‘The Archipelago’, ‘The Spiral of Return and the Common-Place’, ‘Retaining Opacity while Communicating with the Tout-monde’, and ‘The Unrealised Museum’, works by well-known practitioners including John Akomfrah, Janine Antoni, and Coco Fusco are read alongside those of lesser-known artists who work within, from, and between islands of the Caribbean, including: Nadia Huggins, Stacey Tyrell, Ewan Atkinson, and Annalee Davis. In media ranging between photography, moving-image, and performance, these artists share a concern with environmentalism, climate change, community, and the experience of personal identity in relation to the specificities of place. Relational post-colonial ecologies framed through landscape imagery therefore call for analysis and modes of display that are carefully positioned between the aesthetic and the political – a process that is destabilising to perception, and which raises timely questions about precarity, progress, (in)visibility, and belonging.
2020-12-02T00:00:00ZKeohane, KateOver the past two decades, Édouard Glissant’s writings have gained ever-increasing prominence in the fields of post-colonial theory, Caribbean studies, and Francophone literature. They have also been widely used in art and exhibition practice as a ‘tool-kit’ for the display of works relating to themes of globalisation, migration, and diaspora. Glissant was interested and engaged in the arts during his lifetime, but it is not, however, this work that has gained in popularity. Instead, short quotations from his theoretical texts, or isolated terms, including ‘opacity’, ‘relation’, and ‘creolisation’, are utilised in extraction. This thesis returns to the conceptual possibilities of Glissant’s geo-poetic terms for the analysis of art that conveys the Caribbean landscape.
Although it is undeniable that Glissant’s writings have a global resonance, his central and repeating tropes are fundamentally embedded in the imagery and experience of the Caribbean archipelago. Against the aims of a colonial project that rationalises and stabilises through the instrumentalisation and control of nature, Glissant’s concept of the Otherwhere – a space that is simultaneously lived and imagined – is proposed throughout this research as a lens through which to incorporate post-colonial discourse within the analysis of identity, ecology, and visual art. In so doing, my work exposes the limits of schemas of visibility and representation that preclude multiplicity and performativity, and offers imaginative ways of figuring relations between individuals and their encounters with landscapes.
Under the chapters ‘The Sea’, ‘The Archipelago’, ‘The Spiral of Return and the Common-Place’, ‘Retaining Opacity while Communicating with the Tout-monde’, and ‘The Unrealised Museum’, works by well-known practitioners including John Akomfrah, Janine Antoni, and Coco Fusco are read alongside those of lesser-known artists who work within, from, and between islands of the Caribbean, including: Nadia Huggins, Stacey Tyrell, Ewan Atkinson, and Annalee Davis. In media ranging between photography, moving-image, and performance, these artists share a concern with environmentalism, climate change, community, and the experience of personal identity in relation to the specificities of place. Relational post-colonial ecologies framed through landscape imagery therefore call for analysis and modes of display that are carefully positioned between the aesthetic and the political – a process that is destabilising to perception, and which raises timely questions about precarity, progress, (in)visibility, and belonging.Opus anglicanum : the visual language, liturgical rituals, and gifting of a medieval English brandGrub, Valentina Susannehttps://hdl.handle.net/10023/210382021-08-14T11:06:09Z2020-12-02T00:00:00ZIn 1246, when Pope Innocent IV saw embroidered copes and mitres which were made in England, he exclaimed; “England is for us surely a garden of delights, truly an inexhaustible well; and from there where so many things abound...” Embroidery made between 1200-1350 in England, known as opus anglicanum, was internationally recognized, traded, gifted, collected, and coveted. The technical skill combined with a distinct aesthetic resulted in an iconic textile brand. Though first described as a brand in the context of contemporary imitated textiles, I extend this understanding by close visual analyses and archival readings.
“Opus anglicanum: The Visual Language, Liturgical Rituals, and Gifting of a Medieval English Brand” argues for a quadripartite examination of the opus anglicanum brand, grounded in luxury brand theory. I articulate the technical and aesthetic hallmarks of the brand by examining archival records of embroiderers and the specific aspects of their work which differentiated opus anglicanum from other contemporary textile decorations. I then evaluate the opus anglicanum brand aesthetic by a close visual reading of its background designs and popular motifs, through which emerges the enduring relationship between manuscript illumination and embroidery design. As the majority of extant opus anglicanum textiles are ecclesiastic vestments, I then assess these textiles in the context of contemporary liturgical writings and rituals. As archival evidence indicates, opus anglicanum textiles were often presented as gifts. Therefore, I conclude by studying the effect of medieval English embroidery in the context of gift-giving rituals. This dissertation, while grounded in both medieval and modern scholarship, reevaluates these textiles and argues that the enduring legacy of opus anglicanum is due to its identity as a medieval brand.
2020-12-02T00:00:00ZGrub, Valentina SusanneIn 1246, when Pope Innocent IV saw embroidered copes and mitres which were made in England, he exclaimed; “England is for us surely a garden of delights, truly an inexhaustible well; and from there where so many things abound...” Embroidery made between 1200-1350 in England, known as opus anglicanum, was internationally recognized, traded, gifted, collected, and coveted. The technical skill combined with a distinct aesthetic resulted in an iconic textile brand. Though first described as a brand in the context of contemporary imitated textiles, I extend this understanding by close visual analyses and archival readings.
“Opus anglicanum: The Visual Language, Liturgical Rituals, and Gifting of a Medieval English Brand” argues for a quadripartite examination of the opus anglicanum brand, grounded in luxury brand theory. I articulate the technical and aesthetic hallmarks of the brand by examining archival records of embroiderers and the specific aspects of their work which differentiated opus anglicanum from other contemporary textile decorations. I then evaluate the opus anglicanum brand aesthetic by a close visual reading of its background designs and popular motifs, through which emerges the enduring relationship between manuscript illumination and embroidery design. As the majority of extant opus anglicanum textiles are ecclesiastic vestments, I then assess these textiles in the context of contemporary liturgical writings and rituals. As archival evidence indicates, opus anglicanum textiles were often presented as gifts. Therefore, I conclude by studying the effect of medieval English embroidery in the context of gift-giving rituals. This dissertation, while grounded in both medieval and modern scholarship, reevaluates these textiles and argues that the enduring legacy of opus anglicanum is due to its identity as a medieval brand.Peddie and KinnearWalker, David W.https://hdl.handle.net/10023/198632023-10-27T02:07:13Z2002-11-29T00:00:00ZThis thesis explores the architectural practice of John Dick Peddie and Charles Kinnear from Peddie's earliest known designs of 1844 to his withdrawal from the partnership in 1879. A detailed investigation has been made of their unusually well-preserved drawings archive - preliminary studies and rejected proposals as well as executed schemes - and followed up by examination of surviving buildings and records of those now lost, in order to understand how the elevations, planning and underlying compositional principles were conceived. The re-use and adaptation of features - the partners' own and those of other architects who influenced them - across the unprecedented variety of styles and building-types which characterised the period has been the subject of special attention, principally since it helps explain the practice's singular ability, in British terms, to produce exceptionally well-considered designs even if there were few or no previous examples to follow. Reference to contemporary publications, especially the building journals, and to more recent studies in architectural history has been made to ascertain any obvious precedents and parallels as a result aesthetic, technological, economic, social and legislative change.
Family history and business and church records have also been researched to establish what lay behind the partnership's success. The partners' well-connected backgrounds and willingness to become involved with their own money in ambitious business ventures are constant themes, contributing to the growth of the practice until it became the largest in Scotland. Initially one of the most successful practices in Scotland financially, that entrepreneurial rôle subsequently led to catastrophe even as some of their very greatest architectural projects were being realised.
The thesis has been comprehensively illustrated in the hope that it may become a guide not only to Peddie & Kinnear, but to the rich variety of Scottish architecture in the Victorian period generally.
2002-11-29T00:00:00ZWalker, David W.This thesis explores the architectural practice of John Dick Peddie and Charles Kinnear from Peddie's earliest known designs of 1844 to his withdrawal from the partnership in 1879. A detailed investigation has been made of their unusually well-preserved drawings archive - preliminary studies and rejected proposals as well as executed schemes - and followed up by examination of surviving buildings and records of those now lost, in order to understand how the elevations, planning and underlying compositional principles were conceived. The re-use and adaptation of features - the partners' own and those of other architects who influenced them - across the unprecedented variety of styles and building-types which characterised the period has been the subject of special attention, principally since it helps explain the practice's singular ability, in British terms, to produce exceptionally well-considered designs even if there were few or no previous examples to follow. Reference to contemporary publications, especially the building journals, and to more recent studies in architectural history has been made to ascertain any obvious precedents and parallels as a result aesthetic, technological, economic, social and legislative change.
Family history and business and church records have also been researched to establish what lay behind the partnership's success. The partners' well-connected backgrounds and willingness to become involved with their own money in ambitious business ventures are constant themes, contributing to the growth of the practice until it became the largest in Scotland. Initially one of the most successful practices in Scotland financially, that entrepreneurial rôle subsequently led to catastrophe even as some of their very greatest architectural projects were being realised.
The thesis has been comprehensively illustrated in the hope that it may become a guide not only to Peddie & Kinnear, but to the rich variety of Scottish architecture in the Victorian period generally.Light, intermediality, and sensory perception in Francis Bruguière's abstract photographs and films (1921-1936)Adlhoch, Kristen Annhttps://hdl.handle.net/10023/194272021-02-16T12:21:24Z2020-06-25T00:00:00ZAbstract photographs were a key site of the re-evaluation of photography’s ontology
between the First and Second World Wars, bringing to the forefront questions of
objectivity, legibility and the photograph’s essential nature. Bridging avant-garde art
practices with literature, philosophy, and new technologies, artists sought to articulate
and explore the boundaries of traditional modes of sensory experience by employing
synaesthesia, “intermedia,” and the creative capacities of light.
This study explores art practices in which abstraction interrogated the formal qualities
and theoretical conceptions of photography, through an examination of Francis
Bruguière’s (b. San Francisco, 1879-1945) photographs and films made between circa
1921-1936. Bruguière used a wide range of techniques to undermine the verisimilitude
of the photographic medium, and frequently used his images in intermedial
collaborations, which drew upon techniques and theories from the fields of theatre,
film, psychology, and literature. Through a detailed examination of examples of
Bruguière’s photographs and collaborative projects, this dissertation demonstrates the
ways in which abstract photography was implicated in a broader desire amongst the
avant-garde to re-evaluate modes of embodied perception and multi-sensory
experience.
Chapters examine the reception of Alvin Langdon Coburn’s (1882-1966) abstract
“vortograph” series (1917), the light art of Thomas Wilfred (1889-1968), the history
and historiography of abstract photography, and the broader spectrum of intermedial
experiments with light. Bruguière’s collaborative projects, which paired abstraction
with theatre, literature and film, and his exploration of the plastic qualities of light are
scrutinised. Archival materials and primary sources inform the analysis of Bruguière’s
work and the channels of dissemination of these new modes of expression. This revised
and more inclusive contextualisation of abstract photography moves the discussion
away from formalist interpretations of the medium, instead focussing analysis on
broader practices of artistic production across media in the modern era.
2020-06-25T00:00:00ZAdlhoch, Kristen AnnAbstract photographs were a key site of the re-evaluation of photography’s ontology
between the First and Second World Wars, bringing to the forefront questions of
objectivity, legibility and the photograph’s essential nature. Bridging avant-garde art
practices with literature, philosophy, and new technologies, artists sought to articulate
and explore the boundaries of traditional modes of sensory experience by employing
synaesthesia, “intermedia,” and the creative capacities of light.
This study explores art practices in which abstraction interrogated the formal qualities
and theoretical conceptions of photography, through an examination of Francis
Bruguière’s (b. San Francisco, 1879-1945) photographs and films made between circa
1921-1936. Bruguière used a wide range of techniques to undermine the verisimilitude
of the photographic medium, and frequently used his images in intermedial
collaborations, which drew upon techniques and theories from the fields of theatre,
film, psychology, and literature. Through a detailed examination of examples of
Bruguière’s photographs and collaborative projects, this dissertation demonstrates the
ways in which abstract photography was implicated in a broader desire amongst the
avant-garde to re-evaluate modes of embodied perception and multi-sensory
experience.
Chapters examine the reception of Alvin Langdon Coburn’s (1882-1966) abstract
“vortograph” series (1917), the light art of Thomas Wilfred (1889-1968), the history
and historiography of abstract photography, and the broader spectrum of intermedial
experiments with light. Bruguière’s collaborative projects, which paired abstraction
with theatre, literature and film, and his exploration of the plastic qualities of light are
scrutinised. Archival materials and primary sources inform the analysis of Bruguière’s
work and the channels of dissemination of these new modes of expression. This revised
and more inclusive contextualisation of abstract photography moves the discussion
away from formalist interpretations of the medium, instead focussing analysis on
broader practices of artistic production across media in the modern era.Putting the peripheral centre stage : performing modernism in interbellum Bucharest 1924-1934Chiriac, Alexandrahttps://hdl.handle.net/10023/189962021-02-16T14:55:24Z2020-06-25T00:00:00ZThis thesis investigates how modernism manifested itself in applied arts and design in interbellum Bucharest, expanding the field of enquiry of the avant-garde outside two-dimensional production. The framework utilised is underpinned by two recent approaches: from art history, the concept of ‘circulations’ developed by Thomas DaCosta Kaufmann, Catherine Dossin, and Béatrice Joyeux-Prunel; and from the field of performance studies, Erika Fischer-Lichte’s new aesthetics of performance.
The narrative thread is provided by the activities of the artist M. H. Maxy in the realms of design and performance, yet he is not always the protagonist. The first half of the thesis recovers the history of the Academy of Decorative Arts, a private venture founded by designer and pedagogue Andrei Vespremie and later joined by Maxy and his wife Mela Maxy. Through newly uncovered archival material, it provides a close reading of the Academy’s curriculum and workshops and establishes its links with the Schule Reimann, a pioneering Berlin-based design institution. The second half of the thesis focuses on Maxy’s work in stage design and reveals the trajectories of his innovative collaborators: the Vilna Troupe, Dida Solomon and Iacob Sternberg. Examining a range of theatrical productions, it highlights the experimental visions, intricate performances and iconoclastic endeavours of these practitioners, which ran the gamut of ‘high’ to ‘low’ art and blurred the boundaries between modern life, modern commerce, and the theatrical stage.
Overall, this thesis brings to light the rich artistic life of modern Bucharest, a heretofore peripheral location in histories of art, and highlights practitioners whose contribution to the European interwar avant-garde have been obscured by the gaps between disciplines or national narratives. It challenges the categories of ‘avant-garde’ and ‘modernism’ and their restrictive usage, advocating for a more inclusive and transnational approach that eschews binaries and normalises cross-cultural and cross-media slippages and collaborations.
2020-06-25T00:00:00ZChiriac, AlexandraThis thesis investigates how modernism manifested itself in applied arts and design in interbellum Bucharest, expanding the field of enquiry of the avant-garde outside two-dimensional production. The framework utilised is underpinned by two recent approaches: from art history, the concept of ‘circulations’ developed by Thomas DaCosta Kaufmann, Catherine Dossin, and Béatrice Joyeux-Prunel; and from the field of performance studies, Erika Fischer-Lichte’s new aesthetics of performance.
The narrative thread is provided by the activities of the artist M. H. Maxy in the realms of design and performance, yet he is not always the protagonist. The first half of the thesis recovers the history of the Academy of Decorative Arts, a private venture founded by designer and pedagogue Andrei Vespremie and later joined by Maxy and his wife Mela Maxy. Through newly uncovered archival material, it provides a close reading of the Academy’s curriculum and workshops and establishes its links with the Schule Reimann, a pioneering Berlin-based design institution. The second half of the thesis focuses on Maxy’s work in stage design and reveals the trajectories of his innovative collaborators: the Vilna Troupe, Dida Solomon and Iacob Sternberg. Examining a range of theatrical productions, it highlights the experimental visions, intricate performances and iconoclastic endeavours of these practitioners, which ran the gamut of ‘high’ to ‘low’ art and blurred the boundaries between modern life, modern commerce, and the theatrical stage.
Overall, this thesis brings to light the rich artistic life of modern Bucharest, a heretofore peripheral location in histories of art, and highlights practitioners whose contribution to the European interwar avant-garde have been obscured by the gaps between disciplines or national narratives. It challenges the categories of ‘avant-garde’ and ‘modernism’ and their restrictive usage, advocating for a more inclusive and transnational approach that eschews binaries and normalises cross-cultural and cross-media slippages and collaborations.John Adamson 1810-1870 and early photography at St AndrewsPert, Bruce F.https://hdl.handle.net/10023/189012019-11-14T03:06:51Z1994-09-30T00:00:00ZJohn Adamson
(1809-1870) was the eldest of 10 children
born to Rachel and Alexander Adamson, tenant of Burnside
Farm near
Boarhills, a few miles east of St. Andrews. If
photography had never been invented Adamson would still have
been a
figure of more than passing interest. His medical
studies in Edinburgh took place against a background of Knox
the Anatomist and the Burke and Hare scandal. His student
contemporaries included James Y. Simpson and Charles Darwin;
he studied in Paris around the time of the July revolution;
he was a
ship's surgeon on a voyage to China; he helped
establish the
Literary and Philosophical Society's Museum
and remained its curator from its beginning in 1838 until
his death in 1870. His obituaries are
testimony to his
dedication to medicine and his papers on sanitation are a
similar tribute to his commitment towards
public health.
Within weeks of Talbot's
discovery of Photogenic
Drawing, photography was on the Agenda of the Literary and
Philosophical Society in St. Andrews. Talbot's friendship
with Sir David Brewster gave St. Andrews a major part to
play in the early history of photography with John Adamson
taking a leading role.
Whether medicine or
photography was Adamson's major
interest is a moot
point but one feels very much that
Adamson was a doctor first and foremost and for this reason
it seemed
appropriate to discuss at some length his medical
career. He was also a man of passionate interests however,
2
including chemistry and natural history and it would have
been
surprising had he not found photography an irresistible
challenge.
In
looking at Adamson's photographic career the main
source has been the Minute Book of the
Literary and
Philosophical Society which, where appropriate, has been
linked to
photographic developments elsewhere. Photographic
references from this volume are
produced in Appendix 1.
Overall, it is hoped that this dissertation may serve
to
place John Adamson in a clearer context with regard to
both his medical and
photographic career.
1994-09-30T00:00:00ZPert, Bruce F.John Adamson
(1809-1870) was the eldest of 10 children
born to Rachel and Alexander Adamson, tenant of Burnside
Farm near
Boarhills, a few miles east of St. Andrews. If
photography had never been invented Adamson would still have
been a
figure of more than passing interest. His medical
studies in Edinburgh took place against a background of Knox
the Anatomist and the Burke and Hare scandal. His student
contemporaries included James Y. Simpson and Charles Darwin;
he studied in Paris around the time of the July revolution;
he was a
ship's surgeon on a voyage to China; he helped
establish the
Literary and Philosophical Society's Museum
and remained its curator from its beginning in 1838 until
his death in 1870. His obituaries are
testimony to his
dedication to medicine and his papers on sanitation are a
similar tribute to his commitment towards
public health.
Within weeks of Talbot's
discovery of Photogenic
Drawing, photography was on the Agenda of the Literary and
Philosophical Society in St. Andrews. Talbot's friendship
with Sir David Brewster gave St. Andrews a major part to
play in the early history of photography with John Adamson
taking a leading role.
Whether medicine or
photography was Adamson's major
interest is a moot
point but one feels very much that
Adamson was a doctor first and foremost and for this reason
it seemed
appropriate to discuss at some length his medical
career. He was also a man of passionate interests however,
2
including chemistry and natural history and it would have
been
surprising had he not found photography an irresistible
challenge.
In
looking at Adamson's photographic career the main
source has been the Minute Book of the
Literary and
Philosophical Society which, where appropriate, has been
linked to
photographic developments elsewhere. Photographic
references from this volume are
produced in Appendix 1.
Overall, it is hoped that this dissertation may serve
to
place John Adamson in a clearer context with regard to
both his medical and
photographic career.Title redactedCrosbie, Meredithhttps://hdl.handle.net/10023/185622019-09-25T14:53:50Z2017-06-22T00:00:00Z2017-06-22T00:00:00ZCrosbie, MeredithScottish documentary photography and the archive : George M. Cowie, Franki Raffles and Document Scotland in the University of St Andrews Photographic CollectionHeeley, Lydia Isabelhttps://hdl.handle.net/10023/183642021-03-25T17:29:31Z2019-12-01T00:00:00ZScottish documentary photography has a significant historical connection with St Andrews.
The St Andrews Photographic Collection upholds this link by preserving historic and
contemporary collections. This thesis investigates how the collection’s acquisitions of
photographic work place the photographer within the tradition of Scottish documentary
photography. Three case studies are examined, the George M. Cowie collection of
photojournalism, the Franki Raffles collection, and the collection of the photographic
collective, Document Scotland. The ways in which the archive preserves and promotes this
material are examined in a number of ways. Firstly, how the organisation of the material
affects the sense of the photographers’ working practice and authorship of the material.
Secondly, how the materiality of the collections is used in a way that further informs the
photographers’ body of work. Thirdly, how the archive’s presentation of this material can be
utilised by researchers and institutions to promote and re-interpret this work. Finally, these
aspects are considered in terms of positioning the discussed photographers within the legacy
of Scottish documentary photography.
2019-12-01T00:00:00ZHeeley, Lydia IsabelScottish documentary photography has a significant historical connection with St Andrews.
The St Andrews Photographic Collection upholds this link by preserving historic and
contemporary collections. This thesis investigates how the collection’s acquisitions of
photographic work place the photographer within the tradition of Scottish documentary
photography. Three case studies are examined, the George M. Cowie collection of
photojournalism, the Franki Raffles collection, and the collection of the photographic
collective, Document Scotland. The ways in which the archive preserves and promotes this
material are examined in a number of ways. Firstly, how the organisation of the material
affects the sense of the photographers’ working practice and authorship of the material.
Secondly, how the materiality of the collections is used in a way that further informs the
photographers’ body of work. Thirdly, how the archive’s presentation of this material can be
utilised by researchers and institutions to promote and re-interpret this work. Finally, these
aspects are considered in terms of positioning the discussed photographers within the legacy
of Scottish documentary photography.Paul Sandby and ScotlandChristian, Jessicahttps://hdl.handle.net/10023/183032020-02-20T12:03:55Z1989-01-01T00:00:00Z1989-01-01T00:00:00ZChristian, JessicaInherent pedagogies : critical approaches to exhibition making in the 2000sGonzález Rueda, Ana Solhttps://hdl.handle.net/10023/172932021-02-23T15:15:12Z2019-06-27T00:00:00ZSince 2010, the discussion about the relation between curating and education has revolved around Paul O’Neill and Mick Wilson’s proposition of the ‘educational turn’. This term mainly refers to the shift from the peripheral, supportive part of educational activities in relation to exhibitions, to their increased centrality within contemporary curatorial practice. While expressly educational initiatives have received plenty of attention, this thesis concentrates on the inherent pedagogies of the contemporary art exhibition space. The research draws attention to this aspect, particularly regarding critical curatorial approaches that seek to contest prevailing neoliberal educational and cultural policy across Europe. The thesis contributes to exhibition histories in its examination of four chapter-long case studies that were selected on the basis that they propose other modes of spectatorship to the prevalent model of entertained consumption. It also makes a contribution to curatorial studies by delving into distinct critical approaches and integrating interviews conducted with the curators in each case. Most importantly, this study presents the potential of educational theory to both examine and rethink the positions and relations exhibitions organise between institutions, curators, artworks, and the public. Specifically, I put forward the potential contribution of posthumanist, feminist materialist, and decolonial pedagogies to current curatorial practice. These particular methods are supportive of the challenge to Western, modern epistemology set out across the chapters through boundary crossings such as aesthetic experience/discourse, mind/ body, artwork/viewer, the self/the other. I argue that, as curators, we need to unlearn the established —but largely unacknowledged— educational conventions of the field, explore other ways of learning, and set about unschooling contemporary art exhibitions.
2019-06-27T00:00:00ZGonzález Rueda, Ana SolSince 2010, the discussion about the relation between curating and education has revolved around Paul O’Neill and Mick Wilson’s proposition of the ‘educational turn’. This term mainly refers to the shift from the peripheral, supportive part of educational activities in relation to exhibitions, to their increased centrality within contemporary curatorial practice. While expressly educational initiatives have received plenty of attention, this thesis concentrates on the inherent pedagogies of the contemporary art exhibition space. The research draws attention to this aspect, particularly regarding critical curatorial approaches that seek to contest prevailing neoliberal educational and cultural policy across Europe. The thesis contributes to exhibition histories in its examination of four chapter-long case studies that were selected on the basis that they propose other modes of spectatorship to the prevalent model of entertained consumption. It also makes a contribution to curatorial studies by delving into distinct critical approaches and integrating interviews conducted with the curators in each case. Most importantly, this study presents the potential of educational theory to both examine and rethink the positions and relations exhibitions organise between institutions, curators, artworks, and the public. Specifically, I put forward the potential contribution of posthumanist, feminist materialist, and decolonial pedagogies to current curatorial practice. These particular methods are supportive of the challenge to Western, modern epistemology set out across the chapters through boundary crossings such as aesthetic experience/discourse, mind/ body, artwork/viewer, the self/the other. I argue that, as curators, we need to unlearn the established —but largely unacknowledged— educational conventions of the field, explore other ways of learning, and set about unschooling contemporary art exhibitions.Outwith the cloister : wider-precinct buildings in Scottish monasteries c.1070-1560Clarkson, Christian Rosehttps://hdl.handle.net/10023/172352019-07-16T16:02:29Z2018-01-01T00:00:00ZThe purpose of this thesis is to collate and analyse information on wider-precinct buildings in Scottish monasteries c.1070-1560; all monasteries founded within this period in Scotland are included, regardless of religious order. This study discusses different genres of wider-precinct building in turn, seeking to determine where in Scotland each type of building can be found, in what quantity it survives and how it was experienced by the medieval monk. Also important is how wider-precinct spaces developed during the monastic period. Consideration is given to ambiguous precinctual remains with the aim of suggesting what their purpose could have been. After an introduction and literature review which define the parameters of the investigation, the first chapter focusses on buildings in the wider precinct which were used to house and manage residents and visitors; these include abbots’ and commendators’ houses, infirmaries and guest houses. The second chapter, ‘Agriculture in the Precinct’, covers buildings related to grain- and livestock-farming which might be found in the precinct as well as evidence of gardens and orchards, and in the third the same treatment is given to buildings and sites used for light-industrial activities such as baking, brewing and tanning. The fourth chapter discusses the networks which surrounded and crossed the precinct, especially walls and access points as well as water and drainage systems. Concluding thoughts are found at the end of the thesis.
2018-01-01T00:00:00ZClarkson, Christian RoseThe purpose of this thesis is to collate and analyse information on wider-precinct buildings in Scottish monasteries c.1070-1560; all monasteries founded within this period in Scotland are included, regardless of religious order. This study discusses different genres of wider-precinct building in turn, seeking to determine where in Scotland each type of building can be found, in what quantity it survives and how it was experienced by the medieval monk. Also important is how wider-precinct spaces developed during the monastic period. Consideration is given to ambiguous precinctual remains with the aim of suggesting what their purpose could have been. After an introduction and literature review which define the parameters of the investigation, the first chapter focusses on buildings in the wider precinct which were used to house and manage residents and visitors; these include abbots’ and commendators’ houses, infirmaries and guest houses. The second chapter, ‘Agriculture in the Precinct’, covers buildings related to grain- and livestock-farming which might be found in the precinct as well as evidence of gardens and orchards, and in the third the same treatment is given to buildings and sites used for light-industrial activities such as baking, brewing and tanning. The fourth chapter discusses the networks which surrounded and crossed the precinct, especially walls and access points as well as water and drainage systems. Concluding thoughts are found at the end of the thesis.Marginality and the experience of images in late Medieval EnglandSavage, Emily N.https://hdl.handle.net/10023/167192021-11-03T13:47:12Z2017-12-08T00:00:00ZThis thesis re-examines the art historiography of margins and marginality. It has long been recognized that the phenomenon of the marginal – characterized by hybrid forms, and playful scenes of secular subjects – occurred not only on the manuscript page, but also on textiles, maps, furniture, documents, and even within and upon the exterior of the most sacred structures in Christendom. The late Michael Camille argued that in the medieval world these margins were liminal spaces, where artists and patrons explored and defined social relationships through the visual representation of the “other.” Camille and those who followed him painted a picture of a highly stratified, stagnant society, in which images reflect the homogenous worldview of a patriarchal elite. The “others” he described were the socially marginalized peoples of the medieval world, and they naturally included women.
I argue that this approach not only simplifies the often complex relationships between patrons, artists, and audiences in the creative process, but also denies agency to the viewer. In this thesis, I present three case studies involving women and marginal art that both complicate and contradict this argument. The first case study analyzes three misericords with a shared enigmatic iconography, and demonstrates not only that the presumed audience for these pieces was broader than commonly assumed, but also that the wheelbarrowed woman offered more than a condemnatory vision of medieval femininity. In the second case study, I examine how the social, political, and economic factors impacting late medieval towns gave rise to the image of the dishonest alewife in hell, and consider how such a marginal character operated on a monumental scale in the Last Judgment mural. The final case study focuses on a book of hours with a prolonged production period, and reveals how several female patrons physically manipulated both its pages and margins in the service of spiritual and material desires. Working with concepts developed by theorists such as Alfred Gell, Catriona Mackenzie, and Michel Foucault, this thesis resituates agency in our interpretation of the marginal arts.
2017-12-08T00:00:00ZSavage, Emily N.This thesis re-examines the art historiography of margins and marginality. It has long been recognized that the phenomenon of the marginal – characterized by hybrid forms, and playful scenes of secular subjects – occurred not only on the manuscript page, but also on textiles, maps, furniture, documents, and even within and upon the exterior of the most sacred structures in Christendom. The late Michael Camille argued that in the medieval world these margins were liminal spaces, where artists and patrons explored and defined social relationships through the visual representation of the “other.” Camille and those who followed him painted a picture of a highly stratified, stagnant society, in which images reflect the homogenous worldview of a patriarchal elite. The “others” he described were the socially marginalized peoples of the medieval world, and they naturally included women.
I argue that this approach not only simplifies the often complex relationships between patrons, artists, and audiences in the creative process, but also denies agency to the viewer. In this thesis, I present three case studies involving women and marginal art that both complicate and contradict this argument. The first case study analyzes three misericords with a shared enigmatic iconography, and demonstrates not only that the presumed audience for these pieces was broader than commonly assumed, but also that the wheelbarrowed woman offered more than a condemnatory vision of medieval femininity. In the second case study, I examine how the social, political, and economic factors impacting late medieval towns gave rise to the image of the dishonest alewife in hell, and consider how such a marginal character operated on a monumental scale in the Last Judgment mural. The final case study focuses on a book of hours with a prolonged production period, and reveals how several female patrons physically manipulated both its pages and margins in the service of spiritual and material desires. Working with concepts developed by theorists such as Alfred Gell, Catriona Mackenzie, and Michel Foucault, this thesis resituates agency in our interpretation of the marginal arts.Natalia Goncharova and Mikhail Larionov's neo-primitivist depictions of social outcasts in their thematic series of 1907-14Kramer, Cheryl Annhttps://hdl.handle.net/10023/164962019-03-28T15:17:20Z2000-06-22T00:00:00ZThis study addresses the contemporary political and social issues
raised by the subject matter of Natalia Sergeevna Goncharova (1881-1962)
and Mikhail Fedorovich Larionov's (1881-1964) Neo-primitivist series of
1907-14. The ideological implications of the themes are explored, and it is
argued that their development of anti-heroes challenged the mores celebrated
by the status quo within Tsarist Russia.
Chapter I investigates the prevailing ideological climate and provides
a cultural and political contextual framework for the development of Neo-primitivism and the choice of subject matter. The subsequent chapters focus
upon specific thematic cycles. Chapter II argues that Larionov and
Goncharova's paintings on low-life and hooligan subject matter are anti-social works that undermine the affectations of the civilized behaviour
advanced by polite, urban society. Chapter III examines Larionov's prostitute
paintings and argues that the artist's unorthodox treatment of the nude
challenged the viewer's conception of the classical nude, prostitution and
sexuality, as well as the role of women within the Russian patriarchy.
Chapter IV argues that the cycle of paintings Goncharova devoted to
labouring peasants highlights the traditional way of rural life as a call for the
regeneration of contemporary society. Chapter V explores Larionov's soldier
series and argues that the artist debased traditionally revered sources to
produce coarse paintings that mock the soldier as a symbol of patriotism,
thereby satirizing the Tsarist regime. Chapter VI argues that Goncharova's
body of work on Jewish themes incorporate both anti-establishment and anti-assimilation statements.
This choice of themes countered established values, and this was
enhanced by their Neo-primitivist style. The artists confronted the viewer
with images grounded upon various contradictions that call the seemingly
disparate subject matter, the means of representation and the symbolism into
question. The anti-establishment ethos that underpins these works is central
to the understanding of Goncharova and Larionov's series of 1907-14.
2000-06-22T00:00:00ZKramer, Cheryl AnnThis study addresses the contemporary political and social issues
raised by the subject matter of Natalia Sergeevna Goncharova (1881-1962)
and Mikhail Fedorovich Larionov's (1881-1964) Neo-primitivist series of
1907-14. The ideological implications of the themes are explored, and it is
argued that their development of anti-heroes challenged the mores celebrated
by the status quo within Tsarist Russia.
Chapter I investigates the prevailing ideological climate and provides
a cultural and political contextual framework for the development of Neo-primitivism and the choice of subject matter. The subsequent chapters focus
upon specific thematic cycles. Chapter II argues that Larionov and
Goncharova's paintings on low-life and hooligan subject matter are anti-social works that undermine the affectations of the civilized behaviour
advanced by polite, urban society. Chapter III examines Larionov's prostitute
paintings and argues that the artist's unorthodox treatment of the nude
challenged the viewer's conception of the classical nude, prostitution and
sexuality, as well as the role of women within the Russian patriarchy.
Chapter IV argues that the cycle of paintings Goncharova devoted to
labouring peasants highlights the traditional way of rural life as a call for the
regeneration of contemporary society. Chapter V explores Larionov's soldier
series and argues that the artist debased traditionally revered sources to
produce coarse paintings that mock the soldier as a symbol of patriotism,
thereby satirizing the Tsarist regime. Chapter VI argues that Goncharova's
body of work on Jewish themes incorporate both anti-establishment and anti-assimilation statements.
This choice of themes countered established values, and this was
enhanced by their Neo-primitivist style. The artists confronted the viewer
with images grounded upon various contradictions that call the seemingly
disparate subject matter, the means of representation and the symbolism into
question. The anti-establishment ethos that underpins these works is central
to the understanding of Goncharova and Larionov's series of 1907-14.The seasons in the city : artists and rural worlds in the era of Calvino and PasoliniRattalino, Elisabettahttps://hdl.handle.net/10023/155882019-03-28T15:18:06Z2018-01-01T00:00:00ZThe Seasons in the City. Artists and Rural Worlds in the Era of Calvino and Pasolini explores rurality in postwar Italy. Between 1958 and 1963, the country underwent an unprecedented yet uneven industrialisation, a period known as the Economic Miracle. Drawing on a relational and dynamic understanding of rural space provided by human geography, this thesis investigates the impact of these economic and socio-cultural transformations on the countryside, and on the ways in which the rural world was perceived and conceptualised in the following decades, especially by contemporary artists and intellectuals.
Works of Gianfranco Baruchello, Claudio Costa, Piero Gilardi, Maria Lai, Ugo La Pietra, Antonio Paradiso, Pino Pascali, Giuseppe Penone, and Superstudio have been selected and analysed for the complex views on the topography of the country they convey, whilst challenging more conventional forms of art. Organised in themed chapters that find resonance in the contemporary works of two iconic Italian intellectuals, Italo Calvino and Pier Paolo Pasolini, these artistic practices manifest the ways in which Marxist theory and anthropology contributed to artists’ identification of rural landscapes and communities at the time.
More importantly, this thesis offers an alternative geographical perspective on 1970s Italian art, one that challenges the pastoral myths that were constructed in the country’s metropolitan centres.
2018-01-01T00:00:00ZRattalino, ElisabettaThe Seasons in the City. Artists and Rural Worlds in the Era of Calvino and Pasolini explores rurality in postwar Italy. Between 1958 and 1963, the country underwent an unprecedented yet uneven industrialisation, a period known as the Economic Miracle. Drawing on a relational and dynamic understanding of rural space provided by human geography, this thesis investigates the impact of these economic and socio-cultural transformations on the countryside, and on the ways in which the rural world was perceived and conceptualised in the following decades, especially by contemporary artists and intellectuals.
Works of Gianfranco Baruchello, Claudio Costa, Piero Gilardi, Maria Lai, Ugo La Pietra, Antonio Paradiso, Pino Pascali, Giuseppe Penone, and Superstudio have been selected and analysed for the complex views on the topography of the country they convey, whilst challenging more conventional forms of art. Organised in themed chapters that find resonance in the contemporary works of two iconic Italian intellectuals, Italo Calvino and Pier Paolo Pasolini, these artistic practices manifest the ways in which Marxist theory and anthropology contributed to artists’ identification of rural landscapes and communities at the time.
More importantly, this thesis offers an alternative geographical perspective on 1970s Italian art, one that challenges the pastoral myths that were constructed in the country’s metropolitan centres.Nikolai Kul'bin and the Union of Youth, 1908-1914Howard, Jeremyhttps://hdl.handle.net/10023/154322019-03-28T15:17:39Z1991-01-01T00:00:00ZThe first exhibition organised by Nikolai Kul'bin opened in St. Petersburg in April 1908. It marked the beginning of a new era in the history of the art of the Russian capital, and introduced many young artists to the exhibiting environment and the public. While still firmly within the symbolist tradition it was these artists who strove to renew and broaden the visual language of painting. The aim of this thesis has been to trace the developments in this process that started from fin-de-siecle symbolism and reached, via Neo-Primitivism, a climax in Cubo-Futurism. This is achieved by a survey of the composition and events surrounding Kul'bin's group "Triangle" and the art society that grew out of it, "The Union of Youth", from 1908 to 1914. As a group Triangle existed for three art seasons between 1908 and 1910. Chapters One and Two examine the growth and changes in the group in this time. The adoption of an aesthetic of "free creativity" and synaesthetic principles, the psychological impressionism of Kul'bin and Matyushin, and the association of ideas with literary symbolism are examined. The notion of art as an abstraction from nature is studied with reference to Markov's theories and the art of the Union of Youth exhibitors in Chapter Three and succeeding chapters. In addition, the originality of the establishment of the Union of Youth in the Russian context, and the overlap of ideas and artists with Triangle is discussed. The provision of this new forum for unestablished artists stimulated many developments in the visual arts, not least the progress of Neo-Primitivism, which, as seen In Chapter Four was even transferred to the theatre. The Union of Youth's production of "Khoromnyya Deistva" is seen to presage Markov's notion of "constructive" and "non-constructive" art, examined in Chapter Five, as well as the zaum transrationalism of Malevich, Matyushin and Kruchenykh in the Futurist opera The Victory over the Sun. The Union of Youth's role in creating the ambience appropriate for such ideas is analysed and in the second half of the thesis it is seen that while the group backed these modernist tendencies, most of the member-artists actually failed to be truly innovative in their own art. The dependence on developments in Munich and Paris, and the inter-relationship of these artistic centres with Petersburg are studied in the light of the retention of a mystical symbolist aspect in the art of the Petersburg avant-garde.
1991-01-01T00:00:00ZHoward, JeremyThe first exhibition organised by Nikolai Kul'bin opened in St. Petersburg in April 1908. It marked the beginning of a new era in the history of the art of the Russian capital, and introduced many young artists to the exhibiting environment and the public. While still firmly within the symbolist tradition it was these artists who strove to renew and broaden the visual language of painting. The aim of this thesis has been to trace the developments in this process that started from fin-de-siecle symbolism and reached, via Neo-Primitivism, a climax in Cubo-Futurism. This is achieved by a survey of the composition and events surrounding Kul'bin's group "Triangle" and the art society that grew out of it, "The Union of Youth", from 1908 to 1914. As a group Triangle existed for three art seasons between 1908 and 1910. Chapters One and Two examine the growth and changes in the group in this time. The adoption of an aesthetic of "free creativity" and synaesthetic principles, the psychological impressionism of Kul'bin and Matyushin, and the association of ideas with literary symbolism are examined. The notion of art as an abstraction from nature is studied with reference to Markov's theories and the art of the Union of Youth exhibitors in Chapter Three and succeeding chapters. In addition, the originality of the establishment of the Union of Youth in the Russian context, and the overlap of ideas and artists with Triangle is discussed. The provision of this new forum for unestablished artists stimulated many developments in the visual arts, not least the progress of Neo-Primitivism, which, as seen In Chapter Four was even transferred to the theatre. The Union of Youth's production of "Khoromnyya Deistva" is seen to presage Markov's notion of "constructive" and "non-constructive" art, examined in Chapter Five, as well as the zaum transrationalism of Malevich, Matyushin and Kruchenykh in the Futurist opera The Victory over the Sun. The Union of Youth's role in creating the ambience appropriate for such ideas is analysed and in the second half of the thesis it is seen that while the group backed these modernist tendencies, most of the member-artists actually failed to be truly innovative in their own art. The dependence on developments in Munich and Paris, and the inter-relationship of these artistic centres with Petersburg are studied in the light of the retention of a mystical symbolist aspect in the art of the Petersburg avant-garde.Clothing the saints and furnishing Heaven : a Puritan legacy in the New WorldDawber, Charlottehttps://hdl.handle.net/10023/154142019-03-28T15:18:25Z1996-01-01T00:00:00ZThe thesis deals with the concepts of Millenarianism and the witnessing of Faith through costume, textiles and related arts. The responses of five religious sects, Amish, Shaker, Puritan, Quakers and Mennonites, are examined. This text falls into two discrete sections. Chapter One details the historic background of the sects. Subsequent chapters outline the Millennial impulse of the seventeenth to the nineteenth centuries and resulting emigration to the New World. These chapters detail Utopian social models and a discussion of textiles and clothing as indicators of history and human experience. Chapter Three is an overview of religious iconography in this area of American art, touching on themes and the role in society of both the art and the artist. It discusses allegory and symbolism in the visual arts. The second half of the thesis focuses on the costume and textiles of each group. Particular consideration is given to the use of iconography, symbolism and allegory in their visual creations. Internal doctrinal differences are examined such as interpretations of the Biblical injuction to be 'plain', and the central role that the concept of being 'not conformed to the World' plays in the social/aesthetic/religious development of the sects. Apparent theological contradictions are highlighted and addressed. Pressures on each sect to adapt to the cultural norm that have resulted in change and disintegration are detailed.
1996-01-01T00:00:00ZDawber, CharlotteThe thesis deals with the concepts of Millenarianism and the witnessing of Faith through costume, textiles and related arts. The responses of five religious sects, Amish, Shaker, Puritan, Quakers and Mennonites, are examined. This text falls into two discrete sections. Chapter One details the historic background of the sects. Subsequent chapters outline the Millennial impulse of the seventeenth to the nineteenth centuries and resulting emigration to the New World. These chapters detail Utopian social models and a discussion of textiles and clothing as indicators of history and human experience. Chapter Three is an overview of religious iconography in this area of American art, touching on themes and the role in society of both the art and the artist. It discusses allegory and symbolism in the visual arts. The second half of the thesis focuses on the costume and textiles of each group. Particular consideration is given to the use of iconography, symbolism and allegory in their visual creations. Internal doctrinal differences are examined such as interpretations of the Biblical injuction to be 'plain', and the central role that the concept of being 'not conformed to the World' plays in the social/aesthetic/religious development of the sects. Apparent theological contradictions are highlighted and addressed. Pressures on each sect to adapt to the cultural norm that have resulted in change and disintegration are detailed.The production and collecting of plaster and sulpher paste "impronte" as Grand Tour souvenirs in the 18th and 19th centuriesMarchand, K. Scotthttps://hdl.handle.net/10023/153372019-03-28T15:17:09Z1998-01-01T00:00:00ZWhilst investigating the origins and nature of impronte, it became increasingly obvious that as objects in and of themselves, very little comprehensive work had been done to address questions of where, how, and why these objects came to be made. Initial inquiries to various museums and individuals demonstrated that these were not particularly rare items, they were abundant, and commonplace but little understood as objects of art. Typically, impronte are considered to be representations of gemstones, this work is intended to demonstrate that there is a broader dimension to the subjects depicted by impronte. Chapter one contains a brief overview of the historical context of gem collecting and the traditional processes of working on hardstones. The 18th century revival of interest in classical knowledge was directly responsible for the resurgence in the interest in amassing collections of ancient gemstones; as well as the collection of modern gemstones carved in the manner of the ancients. This revival, while stimulating renewed interest in gemstones, was so lucrative that it also encouraged numerous forgeries to be made. The quantity and quality of forgeries was to ultimately undermine confidence in the authenticity of gemstones and result in a collapse of the popular market for the collecting of gemstones, and by extension, impronte. Chapter two is an examination of the practical issues relating to the materials, manufacture, and conservation of impronte. The materials commonly encountered are sulpher and plaster, on rare occasion, glass paste. A large portion of the chapter is devoted to the different aspects of manufacturing impronte. Other sections are concerned with the problems relating to the conservation, storage and cleaning of impronte in the museum environment. Chapter three is an overview of the biographical details and commercial activities of the known makers of impronte represented in private and public collections in the UK and elsewhere. Chapter four is a discussion of the variety of themes and subjects portrayed on impronte. There is a wide diversity of subject material contained in sets of impronte, and not all are strictly pertinent to the traditional subjects treated by gemstones. Large numbers of impronte are intended to be visual study aids, and souvenirs, of great works of art, both ancient and modern held in various famous collections popular with 'Grand tourists'. In many instances impronte are more similar to an 18th and 19th century version of a postcard, or slide package, purchased by modern museum visitors and art lovers. The four appendices contain information about the collection of impronte at the Ashmolean Museum, Oxford; details from 19th century guidebooks to the artisans of Rome, written by Heinrich Keller; a catalogue of the collection of Paoletti impronte at the University of St Andrews; and sample details of the conservation survey of the Ashmolean collection.
1998-01-01T00:00:00ZMarchand, K. ScottWhilst investigating the origins and nature of impronte, it became increasingly obvious that as objects in and of themselves, very little comprehensive work had been done to address questions of where, how, and why these objects came to be made. Initial inquiries to various museums and individuals demonstrated that these were not particularly rare items, they were abundant, and commonplace but little understood as objects of art. Typically, impronte are considered to be representations of gemstones, this work is intended to demonstrate that there is a broader dimension to the subjects depicted by impronte. Chapter one contains a brief overview of the historical context of gem collecting and the traditional processes of working on hardstones. The 18th century revival of interest in classical knowledge was directly responsible for the resurgence in the interest in amassing collections of ancient gemstones; as well as the collection of modern gemstones carved in the manner of the ancients. This revival, while stimulating renewed interest in gemstones, was so lucrative that it also encouraged numerous forgeries to be made. The quantity and quality of forgeries was to ultimately undermine confidence in the authenticity of gemstones and result in a collapse of the popular market for the collecting of gemstones, and by extension, impronte. Chapter two is an examination of the practical issues relating to the materials, manufacture, and conservation of impronte. The materials commonly encountered are sulpher and plaster, on rare occasion, glass paste. A large portion of the chapter is devoted to the different aspects of manufacturing impronte. Other sections are concerned with the problems relating to the conservation, storage and cleaning of impronte in the museum environment. Chapter three is an overview of the biographical details and commercial activities of the known makers of impronte represented in private and public collections in the UK and elsewhere. Chapter four is a discussion of the variety of themes and subjects portrayed on impronte. There is a wide diversity of subject material contained in sets of impronte, and not all are strictly pertinent to the traditional subjects treated by gemstones. Large numbers of impronte are intended to be visual study aids, and souvenirs, of great works of art, both ancient and modern held in various famous collections popular with 'Grand tourists'. In many instances impronte are more similar to an 18th and 19th century version of a postcard, or slide package, purchased by modern museum visitors and art lovers. The four appendices contain information about the collection of impronte at the Ashmolean Museum, Oxford; details from 19th century guidebooks to the artisans of Rome, written by Heinrich Keller; a catalogue of the collection of Paoletti impronte at the University of St Andrews; and sample details of the conservation survey of the Ashmolean collection.European ceramic design 1500-1830Coutts, Kieran Howard Julianhttps://hdl.handle.net/10023/153362019-03-28T15:17:07Z1994-01-01T00:00:00ZThis thesis looks at the design and decoration of European ceramics in the period 1500-1830, paying particular attention to their place within the evolution of stylistic trends within European art and design in this period, including the dissemination of designs through prints during the Renaissance; the influence of the import of Oriental goods in the 17th and 18th centuries; the influence of metalwork in the 18th century; and the influence of the Classical revival of the late 18th century. It pays particular attention to the usage of objects and changes in eating and drinking, including the emergence and decline of service a la francaise in the 18th century, and the use of ceramics as room decoration in this period. It also considers ceramic product as an aspect of economic theory such as mercantilism and changes in society and industrial production.
1994-01-01T00:00:00ZCoutts, Kieran Howard JulianThis thesis looks at the design and decoration of European ceramics in the period 1500-1830, paying particular attention to their place within the evolution of stylistic trends within European art and design in this period, including the dissemination of designs through prints during the Renaissance; the influence of the import of Oriental goods in the 17th and 18th centuries; the influence of metalwork in the 18th century; and the influence of the Classical revival of the late 18th century. It pays particular attention to the usage of objects and changes in eating and drinking, including the emergence and decline of service a la francaise in the 18th century, and the use of ceramics as room decoration in this period. It also considers ceramic product as an aspect of economic theory such as mercantilism and changes in society and industrial production.Robert S. Lorimer - interiors and furniture designShen, Lindsay Macbethhttps://hdl.handle.net/10023/153342019-03-28T15:16:26Z1994-01-01T00:00:00ZChapter 1, entitled "The Scottish Tradition", builds on the early twentieth-century consensus that Lorimer had resuscitated a moribund Scottish tradition of design. While critics have examined the Scottish roots of Lorimer's architecture, the native sources of his furniture design have received little corresponding attention. This section aims to demonstrate the ways in which Lorimer's interest in historical Scottish architecture and woodwork informed his interior and furniture design. In particular, his use of vernacular and regional forms is juxtaposed with the revival of traditional types and motifs he shared with contemporary designers. Complementing a concern with indigenous design is Lorimer's interest in continental antique furniture. Lorimer's personal collection, and those of his clients, may be identified as formative in the development of his design. Chapter 2 examines the main sources, against the social background of Scottish furniture and interior design during the period. The circumstances of the commissions discussed here reveal Lorimer's combination of the roles of architect and interior designer, the focus of Chapter 3 on Lorimer's wide-ranging activities at Balmanno Castle, Perthshire. Chapter 4 seeks to redress the balance between Lorimer as traditionalist and agent for reform, particularly in the area of design education. It will be argued that his own design innovations were secondary to the latter achievement. His attitudes to industrial design and handcraft are considered here, which leads to the final chapter on workmanship. This section is comprised of an in-depth study of Lorimer's working relationship with the executants of his designs; the variant use of handwork and machinework is discussed, and finally some attempt is made to discern and acknowledge the peculiar contributions of designer and workmen.
1994-01-01T00:00:00ZShen, Lindsay MacbethChapter 1, entitled "The Scottish Tradition", builds on the early twentieth-century consensus that Lorimer had resuscitated a moribund Scottish tradition of design. While critics have examined the Scottish roots of Lorimer's architecture, the native sources of his furniture design have received little corresponding attention. This section aims to demonstrate the ways in which Lorimer's interest in historical Scottish architecture and woodwork informed his interior and furniture design. In particular, his use of vernacular and regional forms is juxtaposed with the revival of traditional types and motifs he shared with contemporary designers. Complementing a concern with indigenous design is Lorimer's interest in continental antique furniture. Lorimer's personal collection, and those of his clients, may be identified as formative in the development of his design. Chapter 2 examines the main sources, against the social background of Scottish furniture and interior design during the period. The circumstances of the commissions discussed here reveal Lorimer's combination of the roles of architect and interior designer, the focus of Chapter 3 on Lorimer's wide-ranging activities at Balmanno Castle, Perthshire. Chapter 4 seeks to redress the balance between Lorimer as traditionalist and agent for reform, particularly in the area of design education. It will be argued that his own design innovations were secondary to the latter achievement. His attitudes to industrial design and handcraft are considered here, which leads to the final chapter on workmanship. This section is comprised of an in-depth study of Lorimer's working relationship with the executants of his designs; the variant use of handwork and machinework is discussed, and finally some attempt is made to discern and acknowledge the peculiar contributions of designer and workmen.The Wright Incorporation of Perth 1700 to 1840Petznick, Laura Ware Stonehttps://hdl.handle.net/10023/153332020-02-24T09:28:21Z1999-01-01T00:00:00Z"The Wright Incorporation of Perth 1700 to 1840" documents and examines the Scottish trade incorporation with specific emphasis upon its furniture-making wrights. In the introductory chapter, relevant published sources are cited, and Perth is presented as a Royal Burgh with explanations as to how and why evidence was selected and utilised. Chapter Two examines the Wright Incorporation, its structure and dominant role within the Perth furniture trade. Also, the chapter concludes with a discussion of furniture produced by freemen and strangers of the Incorporation, with particular reference to furniture for Perth's New Town. In Chapter Three, "Case Studies of Selected Perth Wrights", the trades of twelve furniture-making wrights are discussed. Peculiarities of the Wright Incorporation of Perth and the furniture trade which it governed also are addressed. The largest chapter, "A Biographical Dictionary of Perth Wrights and Related Trades", identifies and describes over six hundred wrights who were operating in the Royal Burgh and Perth's immediate suburbs. In conclusion, although a large body of physical evidence of Perth furniture has yet to be documented, what has been located reveals a highly organised and fashionably conscious regional centre of Scottish furniture production, largely controlled by the Wright Incorporation of Perth from 1700 to 1840.
1999-01-01T00:00:00ZPetznick, Laura Ware Stone"The Wright Incorporation of Perth 1700 to 1840" documents and examines the Scottish trade incorporation with specific emphasis upon its furniture-making wrights. In the introductory chapter, relevant published sources are cited, and Perth is presented as a Royal Burgh with explanations as to how and why evidence was selected and utilised. Chapter Two examines the Wright Incorporation, its structure and dominant role within the Perth furniture trade. Also, the chapter concludes with a discussion of furniture produced by freemen and strangers of the Incorporation, with particular reference to furniture for Perth's New Town. In Chapter Three, "Case Studies of Selected Perth Wrights", the trades of twelve furniture-making wrights are discussed. Peculiarities of the Wright Incorporation of Perth and the furniture trade which it governed also are addressed. The largest chapter, "A Biographical Dictionary of Perth Wrights and Related Trades", identifies and describes over six hundred wrights who were operating in the Royal Burgh and Perth's immediate suburbs. In conclusion, although a large body of physical evidence of Perth furniture has yet to be documented, what has been located reveals a highly organised and fashionably conscious regional centre of Scottish furniture production, largely controlled by the Wright Incorporation of Perth from 1700 to 1840.Scottish masonic furnitureJackson, Stephenhttps://hdl.handle.net/10023/153302019-03-28T15:17:26Z1996-01-01T00:00:00ZThis thesis will identify and describe a distinct furniture sub-group previously largely unknown. Chests, chairs, pedestals and other items from all over Scotland, surveyed by the author, will be related to the aims, purposes and social character of Scottish freemasonry. The focus will be on the period 1730-1840 although developments since 1840 will also be discussed. The individual circumstances surrounding production together with the relationship between producers and consumers of this furniture will be investigated, documentary evidence being utilised where possible. The emblematic content of the furniture will be analysed with reference to the mythology and iconography of freemasonry. Comparisons will be made with two groups of related material; English masonic furniture and the Scottish trade incorporation Deacon's chair. It will be argued that the contrasts between Scottish and English masonic furniture embody distinctions between English and Scottish freemasonry as much as distinctions between two nations. Freemasonry was in part a product of the culture of the trade incorporation yet comparisons of Master's chairs with Deacon's chairs will demonstrate the divergence that took place between the two institutions during the eighteenth century. The majority of the items surveyed are chairs and consequently the masonic Master's chair will be considered as a ceremonial, and on occasion, commemorative chair. In conclusion, this thesis will contend that, while masonic furniture in Scotland, and by extension throughout the United Kingdom, forms a coherent furniture sub-group, the form and style of such furniture varied greatly and that at no time did there exist an independent masonic style.
1996-01-01T00:00:00ZJackson, StephenThis thesis will identify and describe a distinct furniture sub-group previously largely unknown. Chests, chairs, pedestals and other items from all over Scotland, surveyed by the author, will be related to the aims, purposes and social character of Scottish freemasonry. The focus will be on the period 1730-1840 although developments since 1840 will also be discussed. The individual circumstances surrounding production together with the relationship between producers and consumers of this furniture will be investigated, documentary evidence being utilised where possible. The emblematic content of the furniture will be analysed with reference to the mythology and iconography of freemasonry. Comparisons will be made with two groups of related material; English masonic furniture and the Scottish trade incorporation Deacon's chair. It will be argued that the contrasts between Scottish and English masonic furniture embody distinctions between English and Scottish freemasonry as much as distinctions between two nations. Freemasonry was in part a product of the culture of the trade incorporation yet comparisons of Master's chairs with Deacon's chairs will demonstrate the divergence that took place between the two institutions during the eighteenth century. The majority of the items surveyed are chairs and consequently the masonic Master's chair will be considered as a ceremonial, and on occasion, commemorative chair. In conclusion, this thesis will contend that, while masonic furniture in Scotland, and by extension throughout the United Kingdom, forms a coherent furniture sub-group, the form and style of such furniture varied greatly and that at no time did there exist an independent masonic style.Arniston House : reflections on its interiors, 1726-1850Wigston, Patricia E. M.https://hdl.handle.net/10023/153282019-03-28T15:16:33Z1996-01-01T00:00:00ZThis thesis discusses the interior decoration between 1726 and 1850 of four of the principal rooms in Arniston House, Gorebridge, Midlothian, the country residence of the Dundases of Arniston, dominant figures in the Scottish legal profession during the 18th century. It is based on a study of the household inventories, account book entries, individual bills and, where accessible, extant decoration and furniture. Areas discussed include plasterwork, lighting, wall decoration, chimneypieces and hearth furniture, household furniture, curtains and flooring. Where appropriate, some discussion of the craftsmen who contributed to these interiors is introduced. The four rooms studied are the Great Hall, the High Library, the Dining Room and the Drawing Room. The Great Hall and the High Library belong to the first phase of building at Arniston, begun in c. 1726, to a plan by William Adam. The Dining Room and Drawing Room in the west wing, designed by John Adam, are representative of the second phase from the mid-1750s. Owing to dry rot in the west wing, the Dining Room and Drawing Room are presently undergoing considerable restoration work. It has therefore been impossible to examine at first hand various decorative elements in these rooms. Access has been limited to those rooms open to the public as part of a guided tour. What has become of much of the furniture is unclear. This problem has been aggravated by the removal of furniture from the west wing in the 1950s and its accommodation and storage in other parts of the house. Some items are on loan to Bute House, Charlotte Square, Edinburgh. Other pieces may have been sold or distributed to members of the Dundas family. As a result of the above circumstances, a considerable amount of this research has had to be based on documentary evidence and photographs.
1996-01-01T00:00:00ZWigston, Patricia E. M.This thesis discusses the interior decoration between 1726 and 1850 of four of the principal rooms in Arniston House, Gorebridge, Midlothian, the country residence of the Dundases of Arniston, dominant figures in the Scottish legal profession during the 18th century. It is based on a study of the household inventories, account book entries, individual bills and, where accessible, extant decoration and furniture. Areas discussed include plasterwork, lighting, wall decoration, chimneypieces and hearth furniture, household furniture, curtains and flooring. Where appropriate, some discussion of the craftsmen who contributed to these interiors is introduced. The four rooms studied are the Great Hall, the High Library, the Dining Room and the Drawing Room. The Great Hall and the High Library belong to the first phase of building at Arniston, begun in c. 1726, to a plan by William Adam. The Dining Room and Drawing Room in the west wing, designed by John Adam, are representative of the second phase from the mid-1750s. Owing to dry rot in the west wing, the Dining Room and Drawing Room are presently undergoing considerable restoration work. It has therefore been impossible to examine at first hand various decorative elements in these rooms. Access has been limited to those rooms open to the public as part of a guided tour. What has become of much of the furniture is unclear. This problem has been aggravated by the removal of furniture from the west wing in the 1950s and its accommodation and storage in other parts of the house. Some items are on loan to Bute House, Charlotte Square, Edinburgh. Other pieces may have been sold or distributed to members of the Dundas family. As a result of the above circumstances, a considerable amount of this research has had to be based on documentary evidence and photographs.Conversion or destruction : Lambert's proferred choice to his brethren in the 'Liber Floridus'Nicol, Kirstyhttps://hdl.handle.net/10023/153232019-03-28T15:16:41Z1995-01-01T00:00:00ZThe making of a medieval encyclopaedia is a much more complex and individual process than has hitherto been acknowledged by many researchers, concerned as they have been on revealing particular structures or intentions within the text compilation. However, even viewed objectively, much of the selection of texts for inclusion in the Liber Floridus may seem to reveal an overriding purpose concerned with the role of the Church in Salvation. This purpose, or indeed any other that gained Lambert's interest, should be visible from the selection and inflection of the images themselves. This is because Lambert showed himself as fully at home in giving shape to his ideas through figuration as he was in exploring and making sense of the accrued learning of the twelfth century, centring on the corpus of material which dealt with the role of the Church. It is therefore to the images and their iconography that this thesis addresses itself. It attempts to clarify those choices which Lambert is intent on revealing to his readers through the laborious and uniquely personal task that was the creation of the Liber Floridus. This thesis also looks at why Lambert chooses to communicate his ideas and message in such a singular manner. In looking at the Liber Floridus it becomes, apparent that Lambert was drawn by more than just antiquarian, or glossator's interests. By what he put together he may have intended quite literally a revelation to the reader of the importance of the role of the Church on earth and its crucial relation with the Church Universal of the coming eschaton. This thesis attempts to set the Liber Floridus in its context of previous and contemporary works. It looks at the way in which Lambert's lifestyle and influences may have affected his conception of the Liber Floridus and his intentions towards his readership. This naturally concentrates on religion, for Lambert had devoted his life to the Church. Taking what are generally considered the principal illustrations in the Liber Floridus, this thesis looks at their connective themes and shared attitudes. It analyses the history of these images and looks at what the subjects of these illustrations might mean both to Lambert himself and to his contemporary readership. It explores how Lambert may have manipulated style and iconography, often along with texts and scriptural quotations, to give his images their particular meanings. It explores the bold comparison of Good and Evil provided by Lambert and looks at why and how this contrast is emphasized, particularly in the context of the Church. Lambert shows similarities between the good topics he covers and also shows parallels between their negative equivalents. He further provides direct and comparative contrasts between positive images and, where suitable, their evil counterparts. Through these bold oppositions, Lambert puts before his readers the inevitable consequences attendant on following one side or the other. This thesis demonstrates that Lambert's pictorial encouragement in assisting his readers to make the right choice is the pivotal purpose behind the visual strategies of the Liber Floridus.
1995-01-01T00:00:00ZNicol, KirstyThe making of a medieval encyclopaedia is a much more complex and individual process than has hitherto been acknowledged by many researchers, concerned as they have been on revealing particular structures or intentions within the text compilation. However, even viewed objectively, much of the selection of texts for inclusion in the Liber Floridus may seem to reveal an overriding purpose concerned with the role of the Church in Salvation. This purpose, or indeed any other that gained Lambert's interest, should be visible from the selection and inflection of the images themselves. This is because Lambert showed himself as fully at home in giving shape to his ideas through figuration as he was in exploring and making sense of the accrued learning of the twelfth century, centring on the corpus of material which dealt with the role of the Church. It is therefore to the images and their iconography that this thesis addresses itself. It attempts to clarify those choices which Lambert is intent on revealing to his readers through the laborious and uniquely personal task that was the creation of the Liber Floridus. This thesis also looks at why Lambert chooses to communicate his ideas and message in such a singular manner. In looking at the Liber Floridus it becomes, apparent that Lambert was drawn by more than just antiquarian, or glossator's interests. By what he put together he may have intended quite literally a revelation to the reader of the importance of the role of the Church on earth and its crucial relation with the Church Universal of the coming eschaton. This thesis attempts to set the Liber Floridus in its context of previous and contemporary works. It looks at the way in which Lambert's lifestyle and influences may have affected his conception of the Liber Floridus and his intentions towards his readership. This naturally concentrates on religion, for Lambert had devoted his life to the Church. Taking what are generally considered the principal illustrations in the Liber Floridus, this thesis looks at their connective themes and shared attitudes. It analyses the history of these images and looks at what the subjects of these illustrations might mean both to Lambert himself and to his contemporary readership. It explores how Lambert may have manipulated style and iconography, often along with texts and scriptural quotations, to give his images their particular meanings. It explores the bold comparison of Good and Evil provided by Lambert and looks at why and how this contrast is emphasized, particularly in the context of the Church. Lambert shows similarities between the good topics he covers and also shows parallels between their negative equivalents. He further provides direct and comparative contrasts between positive images and, where suitable, their evil counterparts. Through these bold oppositions, Lambert puts before his readers the inevitable consequences attendant on following one side or the other. This thesis demonstrates that Lambert's pictorial encouragement in assisting his readers to make the right choice is the pivotal purpose behind the visual strategies of the Liber Floridus.Opening the senses : the Gospel book as an instrument of salvation as articulated by the minor decoration and full-page illustrations of the Book of KellsPulliam, Heatherhttps://hdl.handle.net/10023/153222019-03-28T15:17:31Z1998-01-01T00:00:00ZThis thesis argues that the minor decoration and full-page images of the Book of Kells reflects a cohesive theme: the role of the gospel book in man's apprehension of God. This is demonstrated by an examination of the decorated initials and smaller images in relation to the text and a reinterpretation of the full-page images within the context of patristic commentary and the writings of the period. It is argued that the decorated initials and minor imagery are not merely ornamental but instead emphasize and comment upon the text. They do so in three ways: Firstly, they draw the eye to passages of gospel text that describe the visual apprehension and recognition of Christ as the Son of God. In demonstrating this, the assumption that the decorated initials operate in a traditional manner, such as marking lections or Eusebian sections, is rejected. The atypical function of the decoration, highlighting themes rather than liturgical or content divisions, indicates the unique function of the manuscript. Secondly, it is argued that the decorated initials employ the metaphorical imagery of the Psalms to describe the distinction between the manuscript's audience who acknowledge Christ as the Son of God, and those described within the text as confused and unable to recognize the identity of Christ despite his presence in their midst. Thirdly, the imagery of the decorated initials describes the manner in which the Godhead is literally contained within the text of the gospel book. The larger images also emphasize the recognition of Christ and distinguish between those who look to the Word of God and those who fail to do so. Additionally, the full-page imagery instructs the audience in the use of the manuscript. To an even greater extent than the minor decoration, the larger images articulate the role of the Gospel book and liturgy as a visible guide to an invisible deity and shield against temptation.
1998-01-01T00:00:00ZPulliam, HeatherThis thesis argues that the minor decoration and full-page images of the Book of Kells reflects a cohesive theme: the role of the gospel book in man's apprehension of God. This is demonstrated by an examination of the decorated initials and smaller images in relation to the text and a reinterpretation of the full-page images within the context of patristic commentary and the writings of the period. It is argued that the decorated initials and minor imagery are not merely ornamental but instead emphasize and comment upon the text. They do so in three ways: Firstly, they draw the eye to passages of gospel text that describe the visual apprehension and recognition of Christ as the Son of God. In demonstrating this, the assumption that the decorated initials operate in a traditional manner, such as marking lections or Eusebian sections, is rejected. The atypical function of the decoration, highlighting themes rather than liturgical or content divisions, indicates the unique function of the manuscript. Secondly, it is argued that the decorated initials employ the metaphorical imagery of the Psalms to describe the distinction between the manuscript's audience who acknowledge Christ as the Son of God, and those described within the text as confused and unable to recognize the identity of Christ despite his presence in their midst. Thirdly, the imagery of the decorated initials describes the manner in which the Godhead is literally contained within the text of the gospel book. The larger images also emphasize the recognition of Christ and distinguish between those who look to the Word of God and those who fail to do so. Additionally, the full-page imagery instructs the audience in the use of the manuscript. To an even greater extent than the minor decoration, the larger images articulate the role of the Gospel book and liturgy as a visible guide to an invisible deity and shield against temptation.Images of the Petrine era in Russian history paintingGilchrist, Marianne McLeodhttps://hdl.handle.net/10023/153192019-03-28T15:17:12Z1994-01-01T00:00:00Z‘Images of the Petrine Era in Russian History Painting’ examines the
changing iconography of Petr I (1672-1725) in nineteenth-century
Russian painting, and its relationship with Petr’s symbolic role in the
cultural debate between the Westernisers and the Slavophiles over the
interpretation of the Russian past and the direction of Russia’s future.
Artistic developments are discussed against a background of history,
historiography and literature. Paintings by Academic artists that were
produced as contributions to the official cult of Petr, fostered by Nikolai I,
are explored as expressions of aspects of the archetypal Hero. The
evolution of historical genre painting, and particularly the developments
introduced by Shvarts in the 1860s, are examined as a crucial component
of the context for the emergence of the Peredvizhniki.
The main focus of this study comprises the Realist history
paintings of the Peredvizhniki. The pursuit of historical truth, after
Aleksandr Il’s relaxation of censorship in the late 1850s, became a
significant factor in the application of Realism to history painting. The
treatment of Petrine themes by the Peredvizhniki in their First Exhibition
in 1871 is discussed in relation to the celebrations for Petr’s bicentenary
in 1872. Ge’s ‘Petr I interrogates Tsarevich Aleksei Petrovich at Peterhof’
is analysed in detail for its importance as the first treatment in a Realist
style of a controversial historical incident which was unfavourable to
Petr. Evidence, exemplified by Myasoedov’s ‘The Grandfather of the
Russian Fleet’, is brought forward which suggests continuities between
the Academy and the Peredvizhniki. The Peredvizhniki’s varied
approaches to Petrine themes are examined, emphasising the group’s lack
of ideological uniformity. History paintings are explored in their social
and cultural context, for instance, nineteenth-century depictions of
Tsarevna Sof’ya Alekseevna and the rise of Russian feminism, and the
effect of Surikov’s personal experience of cultural conflict on his works.
1994-01-01T00:00:00ZGilchrist, Marianne McLeod‘Images of the Petrine Era in Russian History Painting’ examines the
changing iconography of Petr I (1672-1725) in nineteenth-century
Russian painting, and its relationship with Petr’s symbolic role in the
cultural debate between the Westernisers and the Slavophiles over the
interpretation of the Russian past and the direction of Russia’s future.
Artistic developments are discussed against a background of history,
historiography and literature. Paintings by Academic artists that were
produced as contributions to the official cult of Petr, fostered by Nikolai I,
are explored as expressions of aspects of the archetypal Hero. The
evolution of historical genre painting, and particularly the developments
introduced by Shvarts in the 1860s, are examined as a crucial component
of the context for the emergence of the Peredvizhniki.
The main focus of this study comprises the Realist history
paintings of the Peredvizhniki. The pursuit of historical truth, after
Aleksandr Il’s relaxation of censorship in the late 1850s, became a
significant factor in the application of Realism to history painting. The
treatment of Petrine themes by the Peredvizhniki in their First Exhibition
in 1871 is discussed in relation to the celebrations for Petr’s bicentenary
in 1872. Ge’s ‘Petr I interrogates Tsarevich Aleksei Petrovich at Peterhof’
is analysed in detail for its importance as the first treatment in a Realist
style of a controversial historical incident which was unfavourable to
Petr. Evidence, exemplified by Myasoedov’s ‘The Grandfather of the
Russian Fleet’, is brought forward which suggests continuities between
the Academy and the Peredvizhniki. The Peredvizhniki’s varied
approaches to Petrine themes are examined, emphasising the group’s lack
of ideological uniformity. History paintings are explored in their social
and cultural context, for instance, nineteenth-century depictions of
Tsarevna Sof’ya Alekseevna and the rise of Russian feminism, and the
effect of Surikov’s personal experience of cultural conflict on his works.Meaning in the allegories painted by Mantegna for Isabella d'Este : a study in the context of Gonzaga patronage and Mantegna's careerBeamish, Gordon Marshallhttps://hdl.handle.net/10023/153172019-03-28T15:16:52Z1997-01-01T00:00:00ZThis Thesis attempts to demonstrate that the themes behind Andrea Mantegna's Parnassus and The Triumph of Virtue drew mainly upon the more arcane aspects of astrology and the cosmos that were dealt with by Marsilio Ficino and by Pico della Mirandola,and which were incorporated into the invenzione drawn up by Paride da Ceresara for the paintings. The examination of the relevant passages from Ficino's translations and editions of the Corpus Hermeticum and of the Asclepius, and from Pico della Mirandola's Conelusiones Magicae and Conelusiones Cabalisticae indicates that Mantegna has depicted two symbolic worlds and that the enlightened soul passes from the lower earthly state shown in The Triumph of Virtue to the higher Ogdoadic state presented in the Parnassus. For the invenzioni, paride de Ceresara grafted the main Hermetic-Cabbalistic theme with congenial literary sources, both contemporary and from the Antique. It is especially the case that aspects of Ciceronian rhetoric played a crucial role in reconciling and satisfying the strategic and inventorist tendencies in Isabella d'Este's thought. Thus it was that the paintings were meant to be read conjointly as a fluent visual essay in Hermetic-Cabbalistic teaching, clothed in an all' antica guise. Throughout this Thesis the approach has been that of an examination of the states of mind of Mantegna, of his Gonzaga patrons and especially that of Isabella d'Este. A comprehensive selection of primary documents has been important in this matter. The Parnassus and The Triumph of Virtue are the result of the mental approach of Mantegna, Paride da Ceresara and Isabella d'Este, with Mantegna displaying his skill and experience in portraying conflated ideas through visual compositions of gestural subtlety using motifs of authentic Antique origin.
1997-01-01T00:00:00ZBeamish, Gordon MarshallThis Thesis attempts to demonstrate that the themes behind Andrea Mantegna's Parnassus and The Triumph of Virtue drew mainly upon the more arcane aspects of astrology and the cosmos that were dealt with by Marsilio Ficino and by Pico della Mirandola,and which were incorporated into the invenzione drawn up by Paride da Ceresara for the paintings. The examination of the relevant passages from Ficino's translations and editions of the Corpus Hermeticum and of the Asclepius, and from Pico della Mirandola's Conelusiones Magicae and Conelusiones Cabalisticae indicates that Mantegna has depicted two symbolic worlds and that the enlightened soul passes from the lower earthly state shown in The Triumph of Virtue to the higher Ogdoadic state presented in the Parnassus. For the invenzioni, paride de Ceresara grafted the main Hermetic-Cabbalistic theme with congenial literary sources, both contemporary and from the Antique. It is especially the case that aspects of Ciceronian rhetoric played a crucial role in reconciling and satisfying the strategic and inventorist tendencies in Isabella d'Este's thought. Thus it was that the paintings were meant to be read conjointly as a fluent visual essay in Hermetic-Cabbalistic teaching, clothed in an all' antica guise. Throughout this Thesis the approach has been that of an examination of the states of mind of Mantegna, of his Gonzaga patrons and especially that of Isabella d'Este. A comprehensive selection of primary documents has been important in this matter. The Parnassus and The Triumph of Virtue are the result of the mental approach of Mantegna, Paride da Ceresara and Isabella d'Este, with Mantegna displaying his skill and experience in portraying conflated ideas through visual compositions of gestural subtlety using motifs of authentic Antique origin.Aspects of colour modelling in Florence from 1480 - 1530DeLancey, Julia Annehttps://hdl.handle.net/10023/153162019-03-28T15:18:15Z1997-01-01T00:00:00ZThis thesis sets out to examine two new issues; the use of the colour modelling system in Florence in the late fifteenth and early sixteenth-centuries and the way it impacts the relationship between six artists who lived and worked for the most part in Florence during that period. Among these artists exist strong ties of studios, common patrons and working locations. Florence has traditionally been identified with disegno and Venice with colorito, although these associations are gradually being overturned; by looking at the clear and consistent use by Florentine artists of colour for expressive and volumetric means, it is hoped to gain a greater and more sophisticated understanding of these relationships. The first chapter looks at the work of Domenico Ghirlandaio and his bottega, one of the largest and for our purposes most influential studios in Florence; for comparison and also because of his role in the issue, Filippino Lippi enters as well. A chapter on Michelangelo, Ghirlandaio's most famous pupil, follows; the cleaned frescoes of the Sistine chapel provide one of the main foci of discussion for colour in the thesis, due to their great fame and dramatic colour use. These are discussed together with the Doni Tondo and the London Entombment. The middle two chapters focus on Andrea del Sarto, Fra Baitolommeo and the San Marco compagnia, the artists to stay in Florence after the departure of Leonardo, Michelangelo and Raphael and who taught many of the next generation of artists. The last two chapters deal with Jacopo Pontormo and Rosso Florentino; as heirs and successors to these earlier artists, Rosso and Pontormo continue in the use of this same colour modelling tradition, but employing it with dramatically different results.
1997-01-01T00:00:00ZDeLancey, Julia AnneThis thesis sets out to examine two new issues; the use of the colour modelling system in Florence in the late fifteenth and early sixteenth-centuries and the way it impacts the relationship between six artists who lived and worked for the most part in Florence during that period. Among these artists exist strong ties of studios, common patrons and working locations. Florence has traditionally been identified with disegno and Venice with colorito, although these associations are gradually being overturned; by looking at the clear and consistent use by Florentine artists of colour for expressive and volumetric means, it is hoped to gain a greater and more sophisticated understanding of these relationships. The first chapter looks at the work of Domenico Ghirlandaio and his bottega, one of the largest and for our purposes most influential studios in Florence; for comparison and also because of his role in the issue, Filippino Lippi enters as well. A chapter on Michelangelo, Ghirlandaio's most famous pupil, follows; the cleaned frescoes of the Sistine chapel provide one of the main foci of discussion for colour in the thesis, due to their great fame and dramatic colour use. These are discussed together with the Doni Tondo and the London Entombment. The middle two chapters focus on Andrea del Sarto, Fra Baitolommeo and the San Marco compagnia, the artists to stay in Florence after the departure of Leonardo, Michelangelo and Raphael and who taught many of the next generation of artists. The last two chapters deal with Jacopo Pontormo and Rosso Florentino; as heirs and successors to these earlier artists, Rosso and Pontormo continue in the use of this same colour modelling tradition, but employing it with dramatically different results.Aspects of the life and work of Archibald Skirving (1749-1819)Sundström, Tanjahttps://hdl.handle.net/10023/153122020-04-28T13:18:02Z1995-01-01T00:00:00ZThe aim of this dissertation is to examine the life and work of the Scottish eighteenth century pastellist and portraitist, Archibald Skirving (1749-1819). It is divided into three chapters and is accompanied by an illustrated catalogue of works. The biography in chapter one contains a chronological survey of the artist's career which is related to wider issues of the period. The second chapter examines aspects of Skirving's oeuvre which concentrated almost entirely on portraiture. Representative examples are illustrated in the text. The final chapter examines Skirving's working procedure and his relationship with his patrons. This also focuses on contemporary criticism of the artist, personal as well as artistic, and concludes with contemporary accounts of Skirving, notably that provided by Thomas Carlyle. The illustrated catalogue comprises all known documented and attributed works, and includes a section of untraced works, engravings after the works of Skirving, and a list of what are now considered to be erroneous attributions.
1995-01-01T00:00:00ZSundström, TanjaThe aim of this dissertation is to examine the life and work of the Scottish eighteenth century pastellist and portraitist, Archibald Skirving (1749-1819). It is divided into three chapters and is accompanied by an illustrated catalogue of works. The biography in chapter one contains a chronological survey of the artist's career which is related to wider issues of the period. The second chapter examines aspects of Skirving's oeuvre which concentrated almost entirely on portraiture. Representative examples are illustrated in the text. The final chapter examines Skirving's working procedure and his relationship with his patrons. This also focuses on contemporary criticism of the artist, personal as well as artistic, and concludes with contemporary accounts of Skirving, notably that provided by Thomas Carlyle. The illustrated catalogue comprises all known documented and attributed works, and includes a section of untraced works, engravings after the works of Skirving, and a list of what are now considered to be erroneous attributions.David Martin (1737-1797) : a catalogue raisonné of his portraits in oilsDixon, Lucyhttps://hdl.handle.net/10023/153112020-04-28T13:18:28Z1995-01-01T00:00:00ZThis catalogue raisonne of David Martin's portraits in oils documents over three hundred works. The catalogue is preceded by five chapters that establish an accurate and factual biography of the artist and discuss his artistic development in the middle and late eighteenth century. The thesis reveals Martin as an artist of national merit and illustrates his place in the development of British portraiture.
1995-01-01T00:00:00ZDixon, LucyThis catalogue raisonne of David Martin's portraits in oils documents over three hundred works. The catalogue is preceded by five chapters that establish an accurate and factual biography of the artist and discuss his artistic development in the middle and late eighteenth century. The thesis reveals Martin as an artist of national merit and illustrates his place in the development of British portraiture.Returning to the 'soil of the sensible' : phenomenological readings of Robert Morris's and Richard Serra's minimalist sculptureAlexander, Sandra Kayehttps://hdl.handle.net/10023/153092019-03-28T15:16:34Z2000-01-01T00:00:00ZThis assessment of the Minimalist sculpture of artists Robert Morris and Richard Serra endeavours not only to describe the ways in which Maurice Merleau-Ponty's phenomenological philosophy has been utilised to analyse the formal character of their work, but also to question the extent to which critical interpretations of such artworks may lay claim to their intended meaning. Firstly, Merleau-Ponty's significant text, the Phenomenology of Perception, will be introduced by exploring a number of its themes relating to perception and to how the body acts as a locus for human experience within the phenomenal world. Secondly, it will be shown how notable comments taken from the Phenomenology have been discussed in relation to several of Robert Morris's Minimalist artworks made between 1962 and 1969. Next, additional ideas taken from the Phenomenology will be brought to bear on the Minimalist sculpture of Richard Serra whose artworks and writings from between 1966 and 1980 have also been interpreted, like those of Morris, to be products of a general phenomenological 'sensibility'. Yet as part of the conclusion to this thesis, the contemporary, critical reception of Morris's and Serra's works will be discussed and particularly, the problematic ways in which Merleau-Ponty's phenomenological theory has been used by commentators to 'explain' several of the non-traditional aspects of their practice. This ultimately serves to bring into question the applicability of such theory to these artists' production. Firstly, we will inspect what evidence is provided by Morris's and Serra's artworks and writings which would support their connection with Pontean theory. Secondly, we will look at just how critics cite Merleau-Ponty's text as a source for Minimalist practice. At the end of such analyses, we may be better able to assess whether the rigorous interpretation of many of these artists' works by way of the Phenomenology is justified, or whether this critical trend is a misapplication of a complex philosophical theory to an equally complex and multivalent form of art practice.
2000-01-01T00:00:00ZAlexander, Sandra KayeThis assessment of the Minimalist sculpture of artists Robert Morris and Richard Serra endeavours not only to describe the ways in which Maurice Merleau-Ponty's phenomenological philosophy has been utilised to analyse the formal character of their work, but also to question the extent to which critical interpretations of such artworks may lay claim to their intended meaning. Firstly, Merleau-Ponty's significant text, the Phenomenology of Perception, will be introduced by exploring a number of its themes relating to perception and to how the body acts as a locus for human experience within the phenomenal world. Secondly, it will be shown how notable comments taken from the Phenomenology have been discussed in relation to several of Robert Morris's Minimalist artworks made between 1962 and 1969. Next, additional ideas taken from the Phenomenology will be brought to bear on the Minimalist sculpture of Richard Serra whose artworks and writings from between 1966 and 1980 have also been interpreted, like those of Morris, to be products of a general phenomenological 'sensibility'. Yet as part of the conclusion to this thesis, the contemporary, critical reception of Morris's and Serra's works will be discussed and particularly, the problematic ways in which Merleau-Ponty's phenomenological theory has been used by commentators to 'explain' several of the non-traditional aspects of their practice. This ultimately serves to bring into question the applicability of such theory to these artists' production. Firstly, we will inspect what evidence is provided by Morris's and Serra's artworks and writings which would support their connection with Pontean theory. Secondly, we will look at just how critics cite Merleau-Ponty's text as a source for Minimalist practice. At the end of such analyses, we may be better able to assess whether the rigorous interpretation of many of these artists' works by way of the Phenomenology is justified, or whether this critical trend is a misapplication of a complex philosophical theory to an equally complex and multivalent form of art practice.The influence of the Garden City movement in Fife, 1914-23 : with particular reference to RosythGleave, Susanhttps://hdl.handle.net/10023/153082020-04-28T13:18:51Z1988-01-01T00:00:00ZThis thesis is divided into sixteen chapters. Chapter 1 deals with the origins and development of the Garden City Movement, detailing Howard's original vision of a Garden City, the consequent popularising of his theories and the formation of the Garden City Association; also the large amount of literature published during the early 20th century on housing design, and the theories of Raymond Unwin. The chapter concludes by identifying signs of reaction again.st "Garden City" values, occurring slightly before the outbreak of the First World War. Chapters 2 to 9 detail the development of the Garden City at Rosyth, created for the Admiralty employees at the new Naval Base around 1915. The Garden City Association's enthusiastic anticipation of a model town, their subsequent disillusion due to the long delays in negotiations between the Admiralty and the Local Government Board for Scotland are documented In detail and followed by an account of the building operations by the Scottish National Housing Company Ltd., and further negotiations regarding the housing at Rosyth. Chapter 10 deals with the legislation and the designs for state-aided housing at the end of the First World War. The findings of the Royal Commission on housing in Scotland, of 1917, and the recommendations of numerous Government Committees concerning the provision of such housing are detailed, and followed by a summary of legislation passed oil this subject between 1919 and 1923. Chapters 11 to 15 focus on the post-war housing schemes at Dunfermline, Inverkeithing, Kirkcaldy, Buckhaven and Methil, and Leven. Chapter 16 provides a final and concluding assessment of the impact of the Garden City Movement, first of all at Rosyth, and then in the above post-war housing schemes. The difficulties of putting; Garden City ideals into practice are discussed, and the economic and theoretical reasons for the reduction of many of the schemes, and the growing tendency towards standardisation, are identified.
1988-01-01T00:00:00ZGleave, SusanThis thesis is divided into sixteen chapters. Chapter 1 deals with the origins and development of the Garden City Movement, detailing Howard's original vision of a Garden City, the consequent popularising of his theories and the formation of the Garden City Association; also the large amount of literature published during the early 20th century on housing design, and the theories of Raymond Unwin. The chapter concludes by identifying signs of reaction again.st "Garden City" values, occurring slightly before the outbreak of the First World War. Chapters 2 to 9 detail the development of the Garden City at Rosyth, created for the Admiralty employees at the new Naval Base around 1915. The Garden City Association's enthusiastic anticipation of a model town, their subsequent disillusion due to the long delays in negotiations between the Admiralty and the Local Government Board for Scotland are documented In detail and followed by an account of the building operations by the Scottish National Housing Company Ltd., and further negotiations regarding the housing at Rosyth. Chapter 10 deals with the legislation and the designs for state-aided housing at the end of the First World War. The findings of the Royal Commission on housing in Scotland, of 1917, and the recommendations of numerous Government Committees concerning the provision of such housing are detailed, and followed by a summary of legislation passed oil this subject between 1919 and 1923. Chapters 11 to 15 focus on the post-war housing schemes at Dunfermline, Inverkeithing, Kirkcaldy, Buckhaven and Methil, and Leven. Chapter 16 provides a final and concluding assessment of the impact of the Garden City Movement, first of all at Rosyth, and then in the above post-war housing schemes. The difficulties of putting; Garden City ideals into practice are discussed, and the economic and theoretical reasons for the reduction of many of the schemes, and the growing tendency towards standardisation, are identified.The architecture of Nikolai L'vov : a study of the architectural relationships between Britain and Russia at the end of the eighteenth centuryMakhrov, Alexei Vasilievichhttps://hdl.handle.net/10023/152652019-03-28T15:17:28Z1998-01-01T00:00:00ZThe thesis offers a reassessment of the works of the Russian architect Nikolai Alexandrovich L'vov (1751-1803). His designs are examined in the context of European architecture. Sources of inspiration for his advanced Neo-Classical style are found in monuments of Greek and Roman antiquity, Renaissance architecture and works of British, French and Italian architects, such as Charles Cameron, Adam Menelaws, Ennemond-Alexandre Petitot and Giacomo Quarenghi. The comparative analysis of L'vov's works with designs of his Russian and foreign contemporaries, for instance Matvei Kazakov, Adrean Zakliai'ov, John Soane, Claude-Nicolas Ledoux and others, highlights the innovative character of L'vov's designs. The investigation of the works produced by L'vov for Catherine the Great, Paul I and the powerful statesman Alexander Bezborodko demonstrates that the architect was entrusted to express political concepts, such as the 'Greek Project', Catherine's plan to liberate Constantinople from the Turks. It is argued that his public buildings and garden scenery of the park of Bezborodko in Moscow were designed as propaganda tools to influence people. The discussion focuses on the consideration of L'vov's interpretation of the ideas derived from European architecture. For example, L'vov was the first Russian architect to declare himself a follower of Palladio. The pioneering study of the Medieval architecture of Moscow produced by L'vov was parallel to the development of the preservationist attitude to national heritage in Britain. He produced ingenious engineering ideas, such as that of the double-shelled dome influenced by the examples of antique and French architecture and adapted to the requirements of Russian climate. He also introduced to Russia the modernised method of building from earth, derived from a French source and modified with the assistance of his Scottish associates. By analysing the relationships between the architecture of L'vov and that of Britain and other European countries, this study seeks to establish his reputation as one of the outstanding European architects of the late eighteenth century.
1998-01-01T00:00:00ZMakhrov, Alexei VasilievichThe thesis offers a reassessment of the works of the Russian architect Nikolai Alexandrovich L'vov (1751-1803). His designs are examined in the context of European architecture. Sources of inspiration for his advanced Neo-Classical style are found in monuments of Greek and Roman antiquity, Renaissance architecture and works of British, French and Italian architects, such as Charles Cameron, Adam Menelaws, Ennemond-Alexandre Petitot and Giacomo Quarenghi. The comparative analysis of L'vov's works with designs of his Russian and foreign contemporaries, for instance Matvei Kazakov, Adrean Zakliai'ov, John Soane, Claude-Nicolas Ledoux and others, highlights the innovative character of L'vov's designs. The investigation of the works produced by L'vov for Catherine the Great, Paul I and the powerful statesman Alexander Bezborodko demonstrates that the architect was entrusted to express political concepts, such as the 'Greek Project', Catherine's plan to liberate Constantinople from the Turks. It is argued that his public buildings and garden scenery of the park of Bezborodko in Moscow were designed as propaganda tools to influence people. The discussion focuses on the consideration of L'vov's interpretation of the ideas derived from European architecture. For example, L'vov was the first Russian architect to declare himself a follower of Palladio. The pioneering study of the Medieval architecture of Moscow produced by L'vov was parallel to the development of the preservationist attitude to national heritage in Britain. He produced ingenious engineering ideas, such as that of the double-shelled dome influenced by the examples of antique and French architecture and adapted to the requirements of Russian climate. He also introduced to Russia the modernised method of building from earth, derived from a French source and modified with the assistance of his Scottish associates. By analysing the relationships between the architecture of L'vov and that of Britain and other European countries, this study seeks to establish his reputation as one of the outstanding European architects of the late eighteenth century.White of Mckim, Mead and WhiteWodehouse, Lawrencehttps://hdl.handle.net/10023/152632019-03-28T15:17:21Z1980-01-01T00:00:00ZStanford White, and Charles Follen McKim were the two major design contributors within the firm of McKim, Mead and White, and William Rutherford Mead was an invaluable organizer and administrator. There are major individual biographies of both McKim and White dating from 1929 and 1931 respectively, but both need updating with regard to the availability of additional research material and changing attitudes toward architectural design over the last hundred years. White's contribution was stylistically different from that of McKim and although the firm attracted at least 785 design com-missions covering all building types, there is a closer affinity stylistically, irrespective of building type, throughout White's work even though there is no evolved progression from one style to another. The Romanesque Revival style, for example, was utilized by White in early and late work and the Romantic-Classical revival used by White in 1890, was the style of his last work, the Prison Ship Martyrs Monument, Fort Greene, Brooklyn, N.Y., completed in 1908, two years after his death. "White of McKim, Mead and White," therefore, analyses White's work in relation to that of the firm as well as clients, builders, innovative specialists, fellow architects, artists and especially sculptors, Augustus Saint-Gaudens was a lifelong friend, and collaboration between White and Saint-Gaudens, plus a host of other notable contemporary sculptors provides two chapters. Three other chapters are devoted to stylistic developments in addition to another on his early offerings; a list of works is tabulated by building type after the bibliography.
1980-01-01T00:00:00ZWodehouse, LawrenceStanford White, and Charles Follen McKim were the two major design contributors within the firm of McKim, Mead and White, and William Rutherford Mead was an invaluable organizer and administrator. There are major individual biographies of both McKim and White dating from 1929 and 1931 respectively, but both need updating with regard to the availability of additional research material and changing attitudes toward architectural design over the last hundred years. White's contribution was stylistically different from that of McKim and although the firm attracted at least 785 design com-missions covering all building types, there is a closer affinity stylistically, irrespective of building type, throughout White's work even though there is no evolved progression from one style to another. The Romanesque Revival style, for example, was utilized by White in early and late work and the Romantic-Classical revival used by White in 1890, was the style of his last work, the Prison Ship Martyrs Monument, Fort Greene, Brooklyn, N.Y., completed in 1908, two years after his death. "White of McKim, Mead and White," therefore, analyses White's work in relation to that of the firm as well as clients, builders, innovative specialists, fellow architects, artists and especially sculptors, Augustus Saint-Gaudens was a lifelong friend, and collaboration between White and Saint-Gaudens, plus a host of other notable contemporary sculptors provides two chapters. Three other chapters are devoted to stylistic developments in addition to another on his early offerings; a list of works is tabulated by building type after the bibliography.Art promotion in new Europe - towards cultural integration : the cases of Poland and the Czech RepublicKolczynska, Paulinahttps://hdl.handle.net/10023/152552019-03-28T15:16:49Z1995-01-01T00:00:00Z"Art promotion in New Europe: towards cultural integration. Cases of Poland and the Czech Republic" examines the situation in the cultural sector of these countries in the post 1989 era. A comparison of Poland and the Czech Republic highlights the wide scope of the problems in improving the standards of contemporary art promotion and cultural exchanges in each country. The study provides information on the background already gained from professional experience within the informal institutions and by individuals whose contacts built the initial ground for international cooperation in both Poland and the Czech Republic. The administrative as well as the artistic problems are discussed. The separate but very important issue of the commercial side of the effective international art promotion is also analysed. Commercial contacts and the difficulties in building an art market in both countries, are studied with regard to problems In the International art dealing during the recession. Much of the evidence is drawn from Interviews with Western and Eastern artists, dealers and arts organizers. This thesis also looks at the changing cultural policy within the European Union and at new potentials for successful International cooperation with the individual member-to-be countries, and their formal and informal institutions. An assessment of art promotion is explored with particular reference to the latest actions of the Council of Europe and the Commission of the European Communities. New ways of cultural collaboration are also examined, based on the rising Importance of the "regions" as administrative units within the European Union and their role in international and national arts programmes. The idea of cooperating regions is also used in this context as a direct way for non-member states to become natural part of the cultural exchanges, exploiting the geographical and historical ties. Assessment of the advantages and disadvantages of different forms of contemporary art promotion in the new Europe is based on evidence gathered from both administrators and artists whose work has been affected by the changes since 1989. The thesis provides a diagnosis of the situation and gathers opinions of the professionals seeking Improvements to facilitate a full cultural dialogue on an international basis.
1995-01-01T00:00:00ZKolczynska, Paulina"Art promotion in New Europe: towards cultural integration. Cases of Poland and the Czech Republic" examines the situation in the cultural sector of these countries in the post 1989 era. A comparison of Poland and the Czech Republic highlights the wide scope of the problems in improving the standards of contemporary art promotion and cultural exchanges in each country. The study provides information on the background already gained from professional experience within the informal institutions and by individuals whose contacts built the initial ground for international cooperation in both Poland and the Czech Republic. The administrative as well as the artistic problems are discussed. The separate but very important issue of the commercial side of the effective international art promotion is also analysed. Commercial contacts and the difficulties in building an art market in both countries, are studied with regard to problems In the International art dealing during the recession. Much of the evidence is drawn from Interviews with Western and Eastern artists, dealers and arts organizers. This thesis also looks at the changing cultural policy within the European Union and at new potentials for successful International cooperation with the individual member-to-be countries, and their formal and informal institutions. An assessment of art promotion is explored with particular reference to the latest actions of the Council of Europe and the Commission of the European Communities. New ways of cultural collaboration are also examined, based on the rising Importance of the "regions" as administrative units within the European Union and their role in international and national arts programmes. The idea of cooperating regions is also used in this context as a direct way for non-member states to become natural part of the cultural exchanges, exploiting the geographical and historical ties. Assessment of the advantages and disadvantages of different forms of contemporary art promotion in the new Europe is based on evidence gathered from both administrators and artists whose work has been affected by the changes since 1989. The thesis provides a diagnosis of the situation and gathers opinions of the professionals seeking Improvements to facilitate a full cultural dialogue on an international basis.Medical images in eighteenth-century British art, with special reference to William Hogarth and Thomas RowlandsonHaslam, Isobel Fionahttps://hdl.handle.net/10023/152522019-03-28T15:17:30Z1993-01-01T00:00:00ZThe objective of this thesis is to show that a study of medical images produced by British artists in the eighteenth century can contribute to the knowledge of the social history of medicine of the period, and to show that, by careful analysis of the medical images portrayed, some insight may be obtained into the meaning of works of art in which such images might otherwise be dismissed as merely irrelevant or gratuitous details. The thesis is cast In two main sections preceded by an introductory chapter which provides some background information with regard to the development of medical services in England and sets the scene from which literary and graphic artists drew their images, Works of the artist William Hogarth form the basis of the first section, The artist made extensive and knowing reference to medical imagery in many of his works, some of which are described and interpreted with due regard to the conventions employed, to the world around him, to literary works of his contemporaries and, where appropriate, to contemporary medical literature, Independent control with regard to the validity of the medical images and practices portrayed is provided where descriptions of such practices and Images correspond with each other. It is contended that such integration of written and visual sources of medical Imagery, in an empirical approach, enhances the information to be gained from either source viewed separately. Although mainly satirical in nature, it is argued that the images must have a foundation of truth and therefore deserve to be examined closely so that the truth of the situation portrayed may be revealed. The second section discusses the use of medical images from the late eighteenth century and early nineteenth century, mainly through the works of Thomas Rowlandson, although works of other artists such as James Gillray and George Cruikshank are included. Through their works information may be gleaned about a range of contemporary medical issues including lay perceptions of disease, pain and death, fashions in disease and treatment and the impact that advancing scientific knowledge had upon medical treatment and upon the practitioners involved. In addition, certain contemporary philosophical ideas are highlighted which have some bearing upon contemporary popular and medical opinion. The nature and function of medical images are discussed throughout the thesis. They are read, not as straightforward documents, but within a framework of recognisable practices. Medical and artistic changes took place throughout the century and the effects of some of these changes are commented upon during the course of the thesis, which concludes by assessing the arguments put forward in both sections and indicates how the two disciplines of the History of Art and the social History of Medicine can be bridged or annexed with benefit to both.
1993-01-01T00:00:00ZHaslam, Isobel FionaThe objective of this thesis is to show that a study of medical images produced by British artists in the eighteenth century can contribute to the knowledge of the social history of medicine of the period, and to show that, by careful analysis of the medical images portrayed, some insight may be obtained into the meaning of works of art in which such images might otherwise be dismissed as merely irrelevant or gratuitous details. The thesis is cast In two main sections preceded by an introductory chapter which provides some background information with regard to the development of medical services in England and sets the scene from which literary and graphic artists drew their images, Works of the artist William Hogarth form the basis of the first section, The artist made extensive and knowing reference to medical imagery in many of his works, some of which are described and interpreted with due regard to the conventions employed, to the world around him, to literary works of his contemporaries and, where appropriate, to contemporary medical literature, Independent control with regard to the validity of the medical images and practices portrayed is provided where descriptions of such practices and Images correspond with each other. It is contended that such integration of written and visual sources of medical Imagery, in an empirical approach, enhances the information to be gained from either source viewed separately. Although mainly satirical in nature, it is argued that the images must have a foundation of truth and therefore deserve to be examined closely so that the truth of the situation portrayed may be revealed. The second section discusses the use of medical images from the late eighteenth century and early nineteenth century, mainly through the works of Thomas Rowlandson, although works of other artists such as James Gillray and George Cruikshank are included. Through their works information may be gleaned about a range of contemporary medical issues including lay perceptions of disease, pain and death, fashions in disease and treatment and the impact that advancing scientific knowledge had upon medical treatment and upon the practitioners involved. In addition, certain contemporary philosophical ideas are highlighted which have some bearing upon contemporary popular and medical opinion. The nature and function of medical images are discussed throughout the thesis. They are read, not as straightforward documents, but within a framework of recognisable practices. Medical and artistic changes took place throughout the century and the effects of some of these changes are commented upon during the course of the thesis, which concludes by assessing the arguments put forward in both sections and indicates how the two disciplines of the History of Art and the social History of Medicine can be bridged or annexed with benefit to both.The theme of the Wise and Foolish Virgins as part of the Last Judgement iconography in Flanders and Italy in the late 15th and the 16th centuriesAlexander, Josephine Maryhttps://hdl.handle.net/10023/152492019-03-28T15:17:26Z1981-01-01T00:00:00ZThe parable of the Wise and Foolish Virgins is told in Matthew's Gospel, Ch.25, v1-13, as an allegory of the Last Judgement. This thesis sets out to examine firstly, how closely the parable is related to the iconography of the Last Judgement in the art of the 15th and 16th centuries; secondly to demonstrate how its interpretation came to be broadened by association with other biblical themes, themselves part of the Last Judgement iconography. Part I traces the origins and development of the theme from early Christian times to the 15th century. In these early sources the artistic tradition of linking the parable to the Last Judgement was first established; the Wise and Foolish Virgins were also linked with Ecclesia and Synagogue and with the Virtues and Vices; and the typological tradition of biblical illustration broadened the theme further by pairing it with other biblical feasts. Appendix I is a handlist of the Wise and Foolish Virgins up till the late 15th century and it illustrates how popular the theme had become by the Middle Ages. Part II treats the parable in the late 15th and the 16th centuries. Chapter I looks at examples of Wise and Foolish Virgins in prints and drawings in the early years of the 16th century, and demonstrates how the virgins were treated individually, how the theme was secularised and tended to degenerate, sometimes into mere costume studies of contemporary, fashionably-dressed maidens; sometimes into rather sensual nudes. Chapter II shows the theme restored to its original biblical context by Netherlandish artists; while Chapter III examines how later Northern artists, greatly influenced by contemporary drama and philosophy, bestowed upon the theme certain wider interpretations and depicted it with strong moral and didactic overtones. Chapter IV examines the contributions of Hans Eworth, Marten de Vos, and Crispin de Passe the Elder to the theme, and shows how the ideas of both the Renaissance and Reformation influenced these artists in their portrayals of the Wise and Foolish Virgins. Chapter V treats the theme as it appeared in Italian art - notably in renderings by Parmigianino and Tintoretto. Chapter VI draws conclusions and sees the theme essentially as a mirror reflecting the social, philosophical and religious climate in 16th century Europe. Finally, a handlist of the Wise and Foolish Virgins in the late 15th and the 16th centuries concludes the study.
1981-01-01T00:00:00ZAlexander, Josephine MaryThe parable of the Wise and Foolish Virgins is told in Matthew's Gospel, Ch.25, v1-13, as an allegory of the Last Judgement. This thesis sets out to examine firstly, how closely the parable is related to the iconography of the Last Judgement in the art of the 15th and 16th centuries; secondly to demonstrate how its interpretation came to be broadened by association with other biblical themes, themselves part of the Last Judgement iconography. Part I traces the origins and development of the theme from early Christian times to the 15th century. In these early sources the artistic tradition of linking the parable to the Last Judgement was first established; the Wise and Foolish Virgins were also linked with Ecclesia and Synagogue and with the Virtues and Vices; and the typological tradition of biblical illustration broadened the theme further by pairing it with other biblical feasts. Appendix I is a handlist of the Wise and Foolish Virgins up till the late 15th century and it illustrates how popular the theme had become by the Middle Ages. Part II treats the parable in the late 15th and the 16th centuries. Chapter I looks at examples of Wise and Foolish Virgins in prints and drawings in the early years of the 16th century, and demonstrates how the virgins were treated individually, how the theme was secularised and tended to degenerate, sometimes into mere costume studies of contemporary, fashionably-dressed maidens; sometimes into rather sensual nudes. Chapter II shows the theme restored to its original biblical context by Netherlandish artists; while Chapter III examines how later Northern artists, greatly influenced by contemporary drama and philosophy, bestowed upon the theme certain wider interpretations and depicted it with strong moral and didactic overtones. Chapter IV examines the contributions of Hans Eworth, Marten de Vos, and Crispin de Passe the Elder to the theme, and shows how the ideas of both the Renaissance and Reformation influenced these artists in their portrayals of the Wise and Foolish Virgins. Chapter V treats the theme as it appeared in Italian art - notably in renderings by Parmigianino and Tintoretto. Chapter VI draws conclusions and sees the theme essentially as a mirror reflecting the social, philosophical and religious climate in 16th century Europe. Finally, a handlist of the Wise and Foolish Virgins in the late 15th and the 16th centuries concludes the study.The sound of colour : the intellectual foundations of Domenichino's approach to music and paintingMacKenzie, Rowland Charleshttps://hdl.handle.net/10023/152472019-03-28T15:17:07Z1998-01-01T00:00:00ZThe debate about the nature of the theoretical basis of the training under the Carracci can be expanded by an analysis of the paintings of Domenichino, who, as the heir to Annibale, might be expected to reveal something of his master's teaching. Domenichino is unusual by the manner in which his painting is grounded in colour harmonies which match those of sound, and in the fact that this modulation is supported by the theoretical principles which he later developed in the company of Matteo Zaccolini in Rome. This thesis will explore the theoretical basis of Domenichino's colour and his music, something which he learnt in the Carracci workshop and developed in the practice of the new manner of painting effected by the Carracci in Bologna. His interest in music was encouraged in Rome by his friendship with Giovanni Battista Agucchi. The commission for the paintings in Sant' Andrea della Valle gave Domenichino the opportunity to demonstrate the relationship between music and painting because the four pendentives of the crossing were designed as an extension of the apparati constructed for the Devotion of the Forty Hours.
1998-01-01T00:00:00ZMacKenzie, Rowland CharlesThe debate about the nature of the theoretical basis of the training under the Carracci can be expanded by an analysis of the paintings of Domenichino, who, as the heir to Annibale, might be expected to reveal something of his master's teaching. Domenichino is unusual by the manner in which his painting is grounded in colour harmonies which match those of sound, and in the fact that this modulation is supported by the theoretical principles which he later developed in the company of Matteo Zaccolini in Rome. This thesis will explore the theoretical basis of Domenichino's colour and his music, something which he learnt in the Carracci workshop and developed in the practice of the new manner of painting effected by the Carracci in Bologna. His interest in music was encouraged in Rome by his friendship with Giovanni Battista Agucchi. The commission for the paintings in Sant' Andrea della Valle gave Domenichino the opportunity to demonstrate the relationship between music and painting because the four pendentives of the crossing were designed as an extension of the apparati constructed for the Devotion of the Forty Hours.Museums and music : an argument in favour of a broader evaluation of the object-based nature of music collections in the United KingdomArchibald, Joannahttps://hdl.handle.net/10023/151312019-03-28T15:17:35Z1996-01-01T00:00:00ZThis work seeks to show that the experience gained through music in its practical and aural sense is not represented adequately in music museums because of the necessarily object-based nature of most museum displays. Restricting the analysis to museums - or their equivalent - in the United Kingdom, a representative cross-section of different museums containing music collections is studied. This material is discussed in terms of type, display, interpretation and visitors. Music's problematic standing in museums is subsequently ascribed to its essentially non-visual and transitory nature. A further series of case study museums is then examined - dealing with Film, Theatre, Sport and 'Conceptual Experiences' as subjects - each of which share elements of music's difficulty in presentation. From this, it is shown that many of these difficulties may be overcome; and some of the solutions may be adapted for musical material in both a practical and ideological sense.
1996-01-01T00:00:00ZArchibald, JoannaThis work seeks to show that the experience gained through music in its practical and aural sense is not represented adequately in music museums because of the necessarily object-based nature of most museum displays. Restricting the analysis to museums - or their equivalent - in the United Kingdom, a representative cross-section of different museums containing music collections is studied. This material is discussed in terms of type, display, interpretation and visitors. Music's problematic standing in museums is subsequently ascribed to its essentially non-visual and transitory nature. A further series of case study museums is then examined - dealing with Film, Theatre, Sport and 'Conceptual Experiences' as subjects - each of which share elements of music's difficulty in presentation. From this, it is shown that many of these difficulties may be overcome; and some of the solutions may be adapted for musical material in both a practical and ideological sense.A study of the major public museums in Taiwan, with a focus on collections careLu, Ying-hsiuhttps://hdl.handle.net/10023/151292019-03-28T15:17:23Z1997-01-01T00:00:00ZThe origins of museum development in Taiwan date back to the late nineteenth century; however, little was achieved until recently because of Taiwan's unstable social and political situation in the early to mid-twentieth century. People outside Taiwan's major cities had very few opportunities to enjoy museums or other cultural services and facilities; and providing the public with such services and facilities was not considered as important as national economic and industrial construction in the viewpoint of Taiwan's government. But now the situation has changed. According to official statistics published by the Council for Cultural Planning and Development, the central government's cultural policy maker, Taiwan's museums have quadrupled within the last two decades: in 1970 there were only 30 museums in Taiwan, but in 1993 this number had grown to 121. This statistic not only shows that the museum industry has become prosperous, with more and more museums, both public and independent, being founded in recent years, but also that people in Taiwan now have more opportunities to enjoy such facilities and services. This thesis begins with an introduction to the history of museum development in China and Taiwan, followed by a discussion of the current museum system in Taiwan. Having been ignored for a long time by the government, Taiwan's museum system is usually considered unsound by local artists and professionals in related fields, Public museums in Taiwan have always been operated as social educational organisations and there is a concern that more laws regarding museum management should be enacted in Taiwan. For purposes of comparison, Japan's museum system and cultural policy are also discussed. Both countries have been at the forefront of Asia's booming economy, so the comparison might be useful in identifying the strengths and weaknesses of Taiwan's museum system and may provide a model for its future development. The last part of the thesis focuses on the care of collections at the six major public museums in Taiwan. As the conservation/care of museum collections has become a major issue world-wide in recent years, it is interesting to see what has been achieved in Taiwan and what the government's attitude towards conservation has been.
1997-01-01T00:00:00ZLu, Ying-hsiuThe origins of museum development in Taiwan date back to the late nineteenth century; however, little was achieved until recently because of Taiwan's unstable social and political situation in the early to mid-twentieth century. People outside Taiwan's major cities had very few opportunities to enjoy museums or other cultural services and facilities; and providing the public with such services and facilities was not considered as important as national economic and industrial construction in the viewpoint of Taiwan's government. But now the situation has changed. According to official statistics published by the Council for Cultural Planning and Development, the central government's cultural policy maker, Taiwan's museums have quadrupled within the last two decades: in 1970 there were only 30 museums in Taiwan, but in 1993 this number had grown to 121. This statistic not only shows that the museum industry has become prosperous, with more and more museums, both public and independent, being founded in recent years, but also that people in Taiwan now have more opportunities to enjoy such facilities and services. This thesis begins with an introduction to the history of museum development in China and Taiwan, followed by a discussion of the current museum system in Taiwan. Having been ignored for a long time by the government, Taiwan's museum system is usually considered unsound by local artists and professionals in related fields, Public museums in Taiwan have always been operated as social educational organisations and there is a concern that more laws regarding museum management should be enacted in Taiwan. For purposes of comparison, Japan's museum system and cultural policy are also discussed. Both countries have been at the forefront of Asia's booming economy, so the comparison might be useful in identifying the strengths and weaknesses of Taiwan's museum system and may provide a model for its future development. The last part of the thesis focuses on the care of collections at the six major public museums in Taiwan. As the conservation/care of museum collections has become a major issue world-wide in recent years, it is interesting to see what has been achieved in Taiwan and what the government's attitude towards conservation has been.The historical development of Zimbabwe's museums and monumentsLee, Karen M.https://hdl.handle.net/10023/151272019-03-28T15:16:54Z1996-01-01T00:00:00ZThe history of Zimbabwe's museums and monuments begins with the coming of British settlers to the colony of Rhodesia in 1890. By 1902 Rhodesia had one fully functional museum called the Rhodesia Museum. This museum concentrated on geology and natural history, two areas that the new colonists were anxious to explore and exploit in order to build up the country's young economy. In 1936 the Rhodesia Museum was nationalised and in the next twenty years two more museums were added to the National Museums of Southern Rhodesia organisation. Although the museums emphasised their objectivity as research and educational centres they also followed government policies that promoted white colonial culture over that of the indigenous black population. This suppression of the African heritage was more marked in the settlers' attitudes towards the country's monuments. At Great Zimbabwe and Matopos, both traditionally significant for local blacks, the white colonists supported interpretations that justified their rale over the African and rejected any involvement of the black tribes in the history of these two monuments. During the 1950s the museums and monuments conformed to the white administration's agenda and took an increasingly biased stand against the Africans, who had started to demand a greater say in the government of Rhodesia. By the time civil war broke out between black and white Rhodesians in 1966, these cultural organisations had become political tools for the colonial cause. This made their situation difficult when after fourteen years the black nationalists won the right to rule Zimbabwe. However, because of their unique ability to mirror the political, social and economic circumstances of the country the museums and monuments remain important contributors to Zimbabwe's cultural history and heritage.
1996-01-01T00:00:00ZLee, Karen M.The history of Zimbabwe's museums and monuments begins with the coming of British settlers to the colony of Rhodesia in 1890. By 1902 Rhodesia had one fully functional museum called the Rhodesia Museum. This museum concentrated on geology and natural history, two areas that the new colonists were anxious to explore and exploit in order to build up the country's young economy. In 1936 the Rhodesia Museum was nationalised and in the next twenty years two more museums were added to the National Museums of Southern Rhodesia organisation. Although the museums emphasised their objectivity as research and educational centres they also followed government policies that promoted white colonial culture over that of the indigenous black population. This suppression of the African heritage was more marked in the settlers' attitudes towards the country's monuments. At Great Zimbabwe and Matopos, both traditionally significant for local blacks, the white colonists supported interpretations that justified their rale over the African and rejected any involvement of the black tribes in the history of these two monuments. During the 1950s the museums and monuments conformed to the white administration's agenda and took an increasingly biased stand against the Africans, who had started to demand a greater say in the government of Rhodesia. By the time civil war broke out between black and white Rhodesians in 1966, these cultural organisations had become political tools for the colonial cause. This made their situation difficult when after fourteen years the black nationalists won the right to rule Zimbabwe. However, because of their unique ability to mirror the political, social and economic circumstances of the country the museums and monuments remain important contributors to Zimbabwe's cultural history and heritage.Local authorities and museum provision in rural Scotland : a case-study approachPage, Katherine Hester Maryhttps://hdl.handle.net/10023/151262019-03-28T15:18:30Z1994-01-01T00:00:00ZThis research examines the differing roles that the local authorities play in museum provision in Scotland. District Councils are legally responsible for ensuring "adequate provision" of cultural facilities in their areas, which is widely accepted as including museums, and a variety of methods for achieving this are in use. Three areas, each using a different approach, are examined; Perth and Kinross District runs a centralised system, Roxburgh has several museums scattered across the District, and Ross and Cromarty gives grant-aid to independently constituted museums within its boundaries but operates no museum itself. The research examines the practical workings of each of these systems, looking at the individual museums and at the relationships between them within each District. Particular themes, such as the impact of the Museums and Galleries Commission's registration scheme or the role of each museum in its local community, are discussed. A chapter on the proposed restructuring of local government in Scotland, and the impact of this on museums, is included. A phenomenological approach to the work was adopted, allowing themes and hypotheses to emerge from the information collected, rather than collecting material to support a particular theory. The research was carried out mainly through fieldwork. Each museum in the District Council areas was sent a questionnaire and this was followed by visits to many of the museums, in which staff were interviewed to ascertain the effectiveness of each style of provision. These results were then analysed and various similarities began to emerge. Each District is discussed separately in detail, and the concluding chapter brings together common strands from all three areas before proffering some suggestions on the future for museums in rural areas. Assessment of the success and adequacy of district council provision of museums facilities is discussed, as is the possible situation after local government reorganisation in Scotland.
1994-01-01T00:00:00ZPage, Katherine Hester MaryThis research examines the differing roles that the local authorities play in museum provision in Scotland. District Councils are legally responsible for ensuring "adequate provision" of cultural facilities in their areas, which is widely accepted as including museums, and a variety of methods for achieving this are in use. Three areas, each using a different approach, are examined; Perth and Kinross District runs a centralised system, Roxburgh has several museums scattered across the District, and Ross and Cromarty gives grant-aid to independently constituted museums within its boundaries but operates no museum itself. The research examines the practical workings of each of these systems, looking at the individual museums and at the relationships between them within each District. Particular themes, such as the impact of the Museums and Galleries Commission's registration scheme or the role of each museum in its local community, are discussed. A chapter on the proposed restructuring of local government in Scotland, and the impact of this on museums, is included. A phenomenological approach to the work was adopted, allowing themes and hypotheses to emerge from the information collected, rather than collecting material to support a particular theory. The research was carried out mainly through fieldwork. Each museum in the District Council areas was sent a questionnaire and this was followed by visits to many of the museums, in which staff were interviewed to ascertain the effectiveness of each style of provision. These results were then analysed and various similarities began to emerge. Each District is discussed separately in detail, and the concluding chapter brings together common strands from all three areas before proffering some suggestions on the future for museums in rural areas. Assessment of the success and adequacy of district council provision of museums facilities is discussed, as is the possible situation after local government reorganisation in Scotland.From cubo-futurism to the left front : Mayakovskii and left art, 1917-1923Williams, Francishttps://hdl.handle.net/10023/151252019-03-28T15:17:56Z1980-01-01T00:00:00ZIn the late nineteen sixties and early seventies there was a marked upsurge of interest among Western scholars in the Soviet literary and artistic avant-garde of the nineteen twenties. The most prominent and active of Soviet avant-garde groupings was the Left Front of the Arts (Lef), led by the poet Vladimir Mayakovskii. Under his leadership, and also under the guidance of Mayakovskii's close friend, the theoretician Osip Brik, Lef stood for social commitment and called for the destruction of art. Left Front anti-art ideology stemmed from the aesthetic of pre-revolutionary cubo-futurism, a movement which had stressed experiment for its own sake and the autonomy of the artistic word. This study attempts to show the process of transformation of cubo-futurist ideas, in particular by examining Mayakovskii's works and his activities from the February revolution in 1917' the launching of the magazine LEF in 1923. Mayakovskii willingly placed his pen at the service of the revolution. He also believed fervently that- only through the experimentalism of the avant-garde could truly revolutionary art be created in Soviet Russiac. And so Mayakovskii came to play a leading role in the avant-garde, the so-called 'left'' artists, both as a writer and as a propagandist and organiser. Only slightly less important was the part played by Osip Brik whose theories firstly of 'art as device' and subsequently of the 'social command' were to have a great impact on the development of Mayakovskii's verse. For almost three years after the October revolution of 1917, the 'left' artists were able, faut de mieux, to occupy leading positions in the country's artistic life. Initially experimentalism was equated with the revolutionary in art, Brik, however, was to go further, looking to a connection of art with (to) productive forces, to the creation of a new industrial aesthetic. The 'left' expended much energy laying claim to the title of proletarian art. Such claims were vigorously resisted organisations such as the Proletkul't and by the Party. By the end of 1920 the power of the 'left' had been effectively broken. In his efforts to get his own work published Mayakovskii, too, fell victim to official displeasure. Mayakovskii's verse of this period shows very clearly the influence of the ideas developed by Brik. This is clear from the programmatic poems, as also from the themes and form of his agitational verse. In these last, Mayakovskii expressed his commitment to the Soviet regime, but in many of the lyrical pieces written at this time the signs of deep inner doubts are unmistakeable. Similar developments to those taking place in Moscow were to be found in the Far East, where a group of futurists called 'Tvorchestvo' strove to put the new art forms at the service of the revolution. When the members of this group made their way back to Moscow late in 1921, they joined forces with Mayakovski and the remnants of the pre-revolutionary cubo-futurist movement, which had also been dispersed by the revolution and the civil war. Mayakovskii now hoped to lead a movement which would finally demonstrate the necessity for formally revolutionary art in a revolutionary society; art that would seek to work directly on the masses and their environment. He was to be disappointed.
1980-01-01T00:00:00ZWilliams, FrancisIn the late nineteen sixties and early seventies there was a marked upsurge of interest among Western scholars in the Soviet literary and artistic avant-garde of the nineteen twenties. The most prominent and active of Soviet avant-garde groupings was the Left Front of the Arts (Lef), led by the poet Vladimir Mayakovskii. Under his leadership, and also under the guidance of Mayakovskii's close friend, the theoretician Osip Brik, Lef stood for social commitment and called for the destruction of art. Left Front anti-art ideology stemmed from the aesthetic of pre-revolutionary cubo-futurism, a movement which had stressed experiment for its own sake and the autonomy of the artistic word. This study attempts to show the process of transformation of cubo-futurist ideas, in particular by examining Mayakovskii's works and his activities from the February revolution in 1917' the launching of the magazine LEF in 1923. Mayakovskii willingly placed his pen at the service of the revolution. He also believed fervently that- only through the experimentalism of the avant-garde could truly revolutionary art be created in Soviet Russiac. And so Mayakovskii came to play a leading role in the avant-garde, the so-called 'left'' artists, both as a writer and as a propagandist and organiser. Only slightly less important was the part played by Osip Brik whose theories firstly of 'art as device' and subsequently of the 'social command' were to have a great impact on the development of Mayakovskii's verse. For almost three years after the October revolution of 1917, the 'left' artists were able, faut de mieux, to occupy leading positions in the country's artistic life. Initially experimentalism was equated with the revolutionary in art, Brik, however, was to go further, looking to a connection of art with (to) productive forces, to the creation of a new industrial aesthetic. The 'left' expended much energy laying claim to the title of proletarian art. Such claims were vigorously resisted organisations such as the Proletkul't and by the Party. By the end of 1920 the power of the 'left' had been effectively broken. In his efforts to get his own work published Mayakovskii, too, fell victim to official displeasure. Mayakovskii's verse of this period shows very clearly the influence of the ideas developed by Brik. This is clear from the programmatic poems, as also from the themes and form of his agitational verse. In these last, Mayakovskii expressed his commitment to the Soviet regime, but in many of the lyrical pieces written at this time the signs of deep inner doubts are unmistakeable. Similar developments to those taking place in Moscow were to be found in the Far East, where a group of futurists called 'Tvorchestvo' strove to put the new art forms at the service of the revolution. When the members of this group made their way back to Moscow late in 1921, they joined forces with Mayakovski and the remnants of the pre-revolutionary cubo-futurist movement, which had also been dispersed by the revolution and the civil war. Mayakovskii now hoped to lead a movement which would finally demonstrate the necessity for formally revolutionary art in a revolutionary society; art that would seek to work directly on the masses and their environment. He was to be disappointed.Early photographs of Japan in Scottish collectionsMurata, Hanakohttps://hdl.handle.net/10023/150912019-03-28T15:17:58Z1998-01-01T00:00:00ZThis dissertation studies Japanese photography before 1945. This field is very large; it includes photographs taken in Japan by British and other foreign visitors to Japan and Japanese images taken in Britain. Broadly speaking, the collections are mainly of Japanese photographs collected by Scottish people and held in Scottish collections and institutions. Scotland has collections of historic photographs of Japan in its museums, universities, libraries and societies. The study of these images can reveal how the British saw Japan at this time. These photographs will be investigated from various angles. These are as follows: 1. How were these collections made? - Who took the photographs and for what purpose? - Who bought or brought the photographs to Scotland and for what purpose? - The provenance of the photographs. In addition, if the photograph is of Japanese people in Britain or Scotland, why those people were in this country will be investigated. 2. How have the collections been managed? - Have the collections been used in exhibitions and are they open to the public? - If so, what kind of exhibition were they used in? - Whether the museum has particular future plans for the collection. - Conservation aspects. Researching these photographs and associated material has given valuable insights into the relationships between the two countries, especially the very early period of contacts between Scotland and Japan. At the present time, the position of early photographs is coming to a turning point. Photographs have not always been given the same value as objects in museums, in the past photographs have been seen more as visual information rather than as historic objects in their own right. However, now these early photographs are beginning to hold a special position as a record of history, as historic objects and as works of art. Researching the history and provenance of these photographs will guide us in considering the role of old photographs in the future. To progress with this research, it was vital to know the quantity and location of early Japanese photographs in the UK. In studying this subject, I made inquiries to the 34 major British museums, libraries, universities and other institutions which might have had a connection with early Japanese photograph collections. This resulted in a number of positive replies concerning a total number of photographs which could be estimated at about 2,500 to 3,000. In this thesis, because of the great number of photographs, and in order to research the relationships between Scotland and Japan in the early age of photography more deeply, I have concentrated on studying the Scottish collections. They belong to six institutions and one private owner, and in total there are 361 images. For further information, the list of institutions to which enquiries were made about early Japanese photographs collection will be included. This information is useful because it shows us just how many early Japanese photographs have been collected by British people and institutions, and are held at present.
1998-01-01T00:00:00ZMurata, HanakoThis dissertation studies Japanese photography before 1945. This field is very large; it includes photographs taken in Japan by British and other foreign visitors to Japan and Japanese images taken in Britain. Broadly speaking, the collections are mainly of Japanese photographs collected by Scottish people and held in Scottish collections and institutions. Scotland has collections of historic photographs of Japan in its museums, universities, libraries and societies. The study of these images can reveal how the British saw Japan at this time. These photographs will be investigated from various angles. These are as follows: 1. How were these collections made? - Who took the photographs and for what purpose? - Who bought or brought the photographs to Scotland and for what purpose? - The provenance of the photographs. In addition, if the photograph is of Japanese people in Britain or Scotland, why those people were in this country will be investigated. 2. How have the collections been managed? - Have the collections been used in exhibitions and are they open to the public? - If so, what kind of exhibition were they used in? - Whether the museum has particular future plans for the collection. - Conservation aspects. Researching these photographs and associated material has given valuable insights into the relationships between the two countries, especially the very early period of contacts between Scotland and Japan. At the present time, the position of early photographs is coming to a turning point. Photographs have not always been given the same value as objects in museums, in the past photographs have been seen more as visual information rather than as historic objects in their own right. However, now these early photographs are beginning to hold a special position as a record of history, as historic objects and as works of art. Researching the history and provenance of these photographs will guide us in considering the role of old photographs in the future. To progress with this research, it was vital to know the quantity and location of early Japanese photographs in the UK. In studying this subject, I made inquiries to the 34 major British museums, libraries, universities and other institutions which might have had a connection with early Japanese photograph collections. This resulted in a number of positive replies concerning a total number of photographs which could be estimated at about 2,500 to 3,000. In this thesis, because of the great number of photographs, and in order to research the relationships between Scotland and Japan in the early age of photography more deeply, I have concentrated on studying the Scottish collections. They belong to six institutions and one private owner, and in total there are 361 images. For further information, the list of institutions to which enquiries were made about early Japanese photographs collection will be included. This information is useful because it shows us just how many early Japanese photographs have been collected by British people and institutions, and are held at present.Thomas Rodger, 1832-1883 : a biography and catalogue of selected worksJohnstone, Karen A.https://hdl.handle.net/10023/150902019-03-28T15:16:58Z1997-06-01T00:00:00ZThe aim of this study was to produce a biography and corpus of work of St. Andrews photographic pioneer Thomas Rodger, 1832-1883. Rodger's life, from a working class background can be traced from childhood, through to being thought of as an important contributor to Scottish photographic history. The circumstances in which Rodger was fortuitous enough to grow up in were also a major influence in his initial interest and success in early photography. In this study not only has his life history been recorded, but his contributions to major exhibitions, events and publications have been accounted for. Rodger's photographic studio, built in 1866, has also been researched and illustrated for the purpose of this study. With reference to the corpus of work of Rodger's photographs, this was catalogued from a selection of St. Andrews University Library's photographic collection. This was done with the view of doing justice to Rodger's reputation as a renowned and respected professional photographer not only in St. Andrews but in Scotland's history of photography.
1997-06-01T00:00:00ZJohnstone, Karen A.The aim of this study was to produce a biography and corpus of work of St. Andrews photographic pioneer Thomas Rodger, 1832-1883. Rodger's life, from a working class background can be traced from childhood, through to being thought of as an important contributor to Scottish photographic history. The circumstances in which Rodger was fortuitous enough to grow up in were also a major influence in his initial interest and success in early photography. In this study not only has his life history been recorded, but his contributions to major exhibitions, events and publications have been accounted for. Rodger's photographic studio, built in 1866, has also been researched and illustrated for the purpose of this study. With reference to the corpus of work of Rodger's photographs, this was catalogued from a selection of St. Andrews University Library's photographic collection. This was done with the view of doing justice to Rodger's reputation as a renowned and respected professional photographer not only in St. Andrews but in Scotland's history of photography.A love of light : Herschel, Talbot & photographySchaaf, Larry J.https://hdl.handle.net/10023/150892019-03-28T15:18:32Z1992-07-01T00:00:00ZWilliam Henry Fox Talbot (1800-1877), the inventor of photography on paper, was given crucial support by his colleague Sir John Herschel (1792- 1871). Fellows of The Royal Society, the two men made fundamental contributions to optics, chemistry, light, and mathematics. Both were humanists of diverse interests and had strong role models in women. For Talbot, it was his mother, Lady Elisabeth Feilding. Herschel learned some of his earliest science from his Aunt, Caroline Herschel; his wife, Margaret, was an active participant in his work. During the pre-history of photography, Mrs. Fulhame, Thomas Wedgwood, Sir Humphry Davy, and Nicephore Niepce demonstrated its potential. The question is why, rather than how, was photography invented and announced in 1839? The camera and the chemistry necessary for the art's invention co-existed for many decades. Frustrated in trying to sketch with Wollaston's camera lucida, Talbot conceived of photography; Herschel avoided making photographs because he was an expert draughtsman adept with the camera lucida. Herschel, following inductive reasoning, made seminal contributions to the field of photochemistry; he invented the cyanotype process and was the first to apply hypo to fix photographs. Talbot learned from his own photographs and grew into being the first photographic artist. Talbot and his rival, Louis Daguerre, mirrored the competitive economic race and differences in support of science and art between France and Great Britain. By the Great Exhibition in 1851, Herschel and Talbot had been forcefully removed from work in photography. Herschel's health was broken in service as Master of the Mint. He remained an important influence on other photographers, including Anna Atkins, Charles Piazzi Smyth, and Julia Margaret Cameron. Talbot learned from experience in photographic book publishing that silver photographs could never be made permanent. He applied his efforts to perfecting photoglyphic engraving, a forerunner of photogravure; he also invented the photographic halftone.
1992-07-01T00:00:00ZSchaaf, Larry J.William Henry Fox Talbot (1800-1877), the inventor of photography on paper, was given crucial support by his colleague Sir John Herschel (1792- 1871). Fellows of The Royal Society, the two men made fundamental contributions to optics, chemistry, light, and mathematics. Both were humanists of diverse interests and had strong role models in women. For Talbot, it was his mother, Lady Elisabeth Feilding. Herschel learned some of his earliest science from his Aunt, Caroline Herschel; his wife, Margaret, was an active participant in his work. During the pre-history of photography, Mrs. Fulhame, Thomas Wedgwood, Sir Humphry Davy, and Nicephore Niepce demonstrated its potential. The question is why, rather than how, was photography invented and announced in 1839? The camera and the chemistry necessary for the art's invention co-existed for many decades. Frustrated in trying to sketch with Wollaston's camera lucida, Talbot conceived of photography; Herschel avoided making photographs because he was an expert draughtsman adept with the camera lucida. Herschel, following inductive reasoning, made seminal contributions to the field of photochemistry; he invented the cyanotype process and was the first to apply hypo to fix photographs. Talbot learned from his own photographs and grew into being the first photographic artist. Talbot and his rival, Louis Daguerre, mirrored the competitive economic race and differences in support of science and art between France and Great Britain. By the Great Exhibition in 1851, Herschel and Talbot had been forcefully removed from work in photography. Herschel's health was broken in service as Master of the Mint. He remained an important influence on other photographers, including Anna Atkins, Charles Piazzi Smyth, and Julia Margaret Cameron. Talbot learned from experience in photographic book publishing that silver photographs could never be made permanent. He applied his efforts to perfecting photoglyphic engraving, a forerunner of photogravure; he also invented the photographic halftone.The political & social background to the Edinburgh public commissions of William TrotterGarrington, Victoriahttps://hdl.handle.net/10023/144932019-03-28T15:16:27Z2003-01-01T00:00:00ZThis thesis is not designed to be an exploration of William Trotter's cabinet-making style and its influences. Instead, it aims firstly to examine the full extent of Trotter's public commissions in Edinburgh, using extant original sources such as estimates, accounts and committee minutes. Previous studies have discussed these commissions, but in many cases the true extent of the work has not been revealed. This is particularly true with regard to Trotter's work at the College of Edinburgh and for the Town Council. This thesis, through an in-depth analysis of each of the Edinburgh public commissions, provides a more thorough assessment of the scale of Trotter's business and its position amongst Edinburgh / Scottish cabinet-making firms. Secondly, and most importantly, this thesis aims to provide an insight into the relationship between Trotter's public commissions and the political positions he held in Edinburgh during his working life. This is designed to shed light not only on Trotter's own working practices, but also on the system of local government in Edinburgh in the first half of the nineteenth century. Chapter 1 of this thesis provides an introduction to Edinburgh at the start of the nineteenth century, focusing on its architectural development. Chapter 2 introduces the firm of Trotter, outlining the various owners of the business and their partners. Chapter 3 provides information on the workings of the Town Council of Edinburgh, the Merchant Company, and the Dean of Guild Court, these institutions being interrelated. William Trotter's positions on the Town Council and its committees are discussed in the final section of this chapter. Chapter 4 provides a background to the development of the College of Edinburgh, from foundation until the involvement of W.H. Playfair. Chapter 5 focuses on the College Museum of Natural History. A discussion of the extant sources of information regarding Trotter's work here is followed by a brief history of the collection, before the various phases of this important commission are discussed in detail. The working relationship between W.H. Playfair and Trotter is also examined. The importance of the architect in relation to the development of the New Town of Edinburgh makes their collaboration particularly interesting. Chapter 6 continues the exploration of Trotter's work at the College by discussing his fitting out of the Speculative Society's rooms. Chapter 7 ends the section of the thesis on the College, discussing Trotter's work in areas of the buildings not covered by previous chapters. Chapter 8 covers work completed for the Town Council, including Council buildings, churches and public funerals. Chapter 9 discusses the work carried out at the George Street Assembly Rooms, while Chapter 10 outlines Trotter's preparations for the Royal Visit of George IV to Edinburgh in 1822, particularly his preparation of the Assembly Rooms and Parliament House. Chapter 11 examines work carried out for the Faculty of Advocates in their various libraries. Chapter 12 concludes the thesis with an extended examination of how Trotter's various Council / committee positions may have led to his receiving such a large number of important and lucrative public commissions. This discussion has wider implications which aid an understanding of the way in which the system of government in Edinburgh during Trotter's lifetime was susceptible to manipulation by merchants and craftsmen for their own ends.
2003-01-01T00:00:00ZGarrington, VictoriaThis thesis is not designed to be an exploration of William Trotter's cabinet-making style and its influences. Instead, it aims firstly to examine the full extent of Trotter's public commissions in Edinburgh, using extant original sources such as estimates, accounts and committee minutes. Previous studies have discussed these commissions, but in many cases the true extent of the work has not been revealed. This is particularly true with regard to Trotter's work at the College of Edinburgh and for the Town Council. This thesis, through an in-depth analysis of each of the Edinburgh public commissions, provides a more thorough assessment of the scale of Trotter's business and its position amongst Edinburgh / Scottish cabinet-making firms. Secondly, and most importantly, this thesis aims to provide an insight into the relationship between Trotter's public commissions and the political positions he held in Edinburgh during his working life. This is designed to shed light not only on Trotter's own working practices, but also on the system of local government in Edinburgh in the first half of the nineteenth century. Chapter 1 of this thesis provides an introduction to Edinburgh at the start of the nineteenth century, focusing on its architectural development. Chapter 2 introduces the firm of Trotter, outlining the various owners of the business and their partners. Chapter 3 provides information on the workings of the Town Council of Edinburgh, the Merchant Company, and the Dean of Guild Court, these institutions being interrelated. William Trotter's positions on the Town Council and its committees are discussed in the final section of this chapter. Chapter 4 provides a background to the development of the College of Edinburgh, from foundation until the involvement of W.H. Playfair. Chapter 5 focuses on the College Museum of Natural History. A discussion of the extant sources of information regarding Trotter's work here is followed by a brief history of the collection, before the various phases of this important commission are discussed in detail. The working relationship between W.H. Playfair and Trotter is also examined. The importance of the architect in relation to the development of the New Town of Edinburgh makes their collaboration particularly interesting. Chapter 6 continues the exploration of Trotter's work at the College by discussing his fitting out of the Speculative Society's rooms. Chapter 7 ends the section of the thesis on the College, discussing Trotter's work in areas of the buildings not covered by previous chapters. Chapter 8 covers work completed for the Town Council, including Council buildings, churches and public funerals. Chapter 9 discusses the work carried out at the George Street Assembly Rooms, while Chapter 10 outlines Trotter's preparations for the Royal Visit of George IV to Edinburgh in 1822, particularly his preparation of the Assembly Rooms and Parliament House. Chapter 11 examines work carried out for the Faculty of Advocates in their various libraries. Chapter 12 concludes the thesis with an extended examination of how Trotter's various Council / committee positions may have led to his receiving such a large number of important and lucrative public commissions. This discussion has wider implications which aid an understanding of the way in which the system of government in Edinburgh during Trotter's lifetime was susceptible to manipulation by merchants and craftsmen for their own ends.The art of Arthur BoydSpens, Janet McKenziehttps://hdl.handle.net/10023/144892019-03-28T15:17:29Z2002-01-01T00:00:00ZArthur Boyd (1920-1999) presents art historians with an exceptionally complex critical dimension in terms of his position in twentieth century painting. Although he is considered to be one of the most distinguished Australian painters of the century, in terms of the originality and accomplishment exhibited over five decades (the other being Sir Sidney Nolan O.M,.R.A.), Boyd has been, to date, ill-served by contemporary historians. The earlier definitive publication, by Franz Philipp was published in London as early as 1967. There was subsequently a relatively brief study by Dr Ursula Hoff (1986). In both cases the research was valuable, given the social and cultural climate of each respective period, but their conclusions demand revision in the present perspective. Boyd's completed oeuvre is now open to revisionary analysis in art historical terms, in the light of evolving and more demanding criteria with respect to a properly contemporary social and cultural perspective. My work was in large part complete by 1996, after which the artist suffered terminally from a physically and mentally debilitating condition ; he died three years later. In a radical reappraisal I have accordingly reviewed the chronological progression of his work in various media. This is charted and analysed in terms of its transition from the relatively benign landscape and figurative subject material in the prewar period , then following the trauma of world war a transformation into a more psychologically riven genre of allegorical departures from harmony and visual cohesion; to work driven by global knowledge of atrocity and deprivation. As the postwar work developed, the artist's imagery reflected a deliberate level of appropriation of subject and composition. An awareness of European narrative painting grew at first hand, deployed by him subsequently to develop content via specific collaborations in graphic work, with established scholars and poets. In the 1960s and 1970s Boyd successfully evolved, with his exceptional technical proficiency and draughtmanship, a model whereby religious or historical narrative text was combined with an expanding repertoire of Boyd imagery. I have explored this process and its results to find an original connectivity not previously evaluated. This examines the development of the oeuvre as between thematic content and its expression through Boyd's personal language in painting. Of particular significance I have reappraised Boyd's Bride paintings of the 1950s in the light of the Human Rights and Equal Opportunity Commission's report, Report of the National Inquiry into the Separation of Aboriginal and Torres Strait Islander Children from their Families, (1997). In doing so Boyd can be seen as both a courageous and a highly original artist who sought to expose the ills of society through painting. At the same time his work is the product of the ignorance of white Australians in their comprehension of the plight of Australia's dispossessed Indigenous race. These social aspects are here exposed for the first time in my conclusions as essential to the complete reappraisal of Arthur Boyd's ultimate standing in terms of present day critique.
2002-01-01T00:00:00ZSpens, Janet McKenzieArthur Boyd (1920-1999) presents art historians with an exceptionally complex critical dimension in terms of his position in twentieth century painting. Although he is considered to be one of the most distinguished Australian painters of the century, in terms of the originality and accomplishment exhibited over five decades (the other being Sir Sidney Nolan O.M,.R.A.), Boyd has been, to date, ill-served by contemporary historians. The earlier definitive publication, by Franz Philipp was published in London as early as 1967. There was subsequently a relatively brief study by Dr Ursula Hoff (1986). In both cases the research was valuable, given the social and cultural climate of each respective period, but their conclusions demand revision in the present perspective. Boyd's completed oeuvre is now open to revisionary analysis in art historical terms, in the light of evolving and more demanding criteria with respect to a properly contemporary social and cultural perspective. My work was in large part complete by 1996, after which the artist suffered terminally from a physically and mentally debilitating condition ; he died three years later. In a radical reappraisal I have accordingly reviewed the chronological progression of his work in various media. This is charted and analysed in terms of its transition from the relatively benign landscape and figurative subject material in the prewar period , then following the trauma of world war a transformation into a more psychologically riven genre of allegorical departures from harmony and visual cohesion; to work driven by global knowledge of atrocity and deprivation. As the postwar work developed, the artist's imagery reflected a deliberate level of appropriation of subject and composition. An awareness of European narrative painting grew at first hand, deployed by him subsequently to develop content via specific collaborations in graphic work, with established scholars and poets. In the 1960s and 1970s Boyd successfully evolved, with his exceptional technical proficiency and draughtmanship, a model whereby religious or historical narrative text was combined with an expanding repertoire of Boyd imagery. I have explored this process and its results to find an original connectivity not previously evaluated. This examines the development of the oeuvre as between thematic content and its expression through Boyd's personal language in painting. Of particular significance I have reappraised Boyd's Bride paintings of the 1950s in the light of the Human Rights and Equal Opportunity Commission's report, Report of the National Inquiry into the Separation of Aboriginal and Torres Strait Islander Children from their Families, (1997). In doing so Boyd can be seen as both a courageous and a highly original artist who sought to expose the ills of society through painting. At the same time his work is the product of the ignorance of white Australians in their comprehension of the plight of Australia's dispossessed Indigenous race. These social aspects are here exposed for the first time in my conclusions as essential to the complete reappraisal of Arthur Boyd's ultimate standing in terms of present day critique.Odilon Redon, the visual poet of Edgar Allan Poe : a study of the lithographic album 'A Edgar Poë'Kessenich, Veronica L.https://hdl.handle.net/10023/144862019-03-28T15:17:36Z2004-01-01T00:00:00ZOdilon Redon, The Visual Poet of Edgar Allan Poe: A Study of the Lithographic Album A Edgar Poe argues that the album A Edgar Poe, published in 1882, fundamentally alters Redon's artistic career. The thesis advocates the importance of Poe's writing to Redon's development, contending that the lithographic album confirms nineteenth-century literary and artistic interest in Poe. The thesis maintains that, while Redon subsequently attempted to disassociate himself from the American writer, his art was recognized and admired for its Poe-esque visions. Chapter One examines Edgar Allan Poe's influence on the nineteenth-century French artistic and literary avant-garde. The chapter argues that the artistic and spiritual resemblance between Poe and Redon facilitates the design the lithographic album A Edgar Poe, a work Redon uses to promote his own standing as an artist. Through examination of the original plates of the lithographic album A Edgar Poe at The Art Institute of Chicago, Chapter Two illustrates Poe's centrality to the evolution of Redon's art. Chapter Three argues for the importance of A Edgar Poe in Redon's oeuvre, contending that subsequent albums and commissions show the important role of literary art in Redon's artistic growth. The chapter demonstrates the significance of Redon's work to the Symbolist avant-garde of Brussels. Utilizing Andre Mellerio's notes, essays, collected letters and writings in the Ryerson & Burnham Library at the Art Institute of Chicago, the thesis argues that the album A Edgar Poe represents a pivotal stage in Redon's career through its dedication to a literary artist and the unification of art and poetry. Contending that the album develops themes prevalent in the noirs, the thesis illustrates the artistic resemblance and relationship between Poe and Redon and emphasizes the crucial role of Poe's work in Redon's progression and acceptance as an artist.
2004-01-01T00:00:00ZKessenich, Veronica L.Odilon Redon, The Visual Poet of Edgar Allan Poe: A Study of the Lithographic Album A Edgar Poe argues that the album A Edgar Poe, published in 1882, fundamentally alters Redon's artistic career. The thesis advocates the importance of Poe's writing to Redon's development, contending that the lithographic album confirms nineteenth-century literary and artistic interest in Poe. The thesis maintains that, while Redon subsequently attempted to disassociate himself from the American writer, his art was recognized and admired for its Poe-esque visions. Chapter One examines Edgar Allan Poe's influence on the nineteenth-century French artistic and literary avant-garde. The chapter argues that the artistic and spiritual resemblance between Poe and Redon facilitates the design the lithographic album A Edgar Poe, a work Redon uses to promote his own standing as an artist. Through examination of the original plates of the lithographic album A Edgar Poe at The Art Institute of Chicago, Chapter Two illustrates Poe's centrality to the evolution of Redon's art. Chapter Three argues for the importance of A Edgar Poe in Redon's oeuvre, contending that subsequent albums and commissions show the important role of literary art in Redon's artistic growth. The chapter demonstrates the significance of Redon's work to the Symbolist avant-garde of Brussels. Utilizing Andre Mellerio's notes, essays, collected letters and writings in the Ryerson & Burnham Library at the Art Institute of Chicago, the thesis argues that the album A Edgar Poe represents a pivotal stage in Redon's career through its dedication to a literary artist and the unification of art and poetry. Contending that the album develops themes prevalent in the noirs, the thesis illustrates the artistic resemblance and relationship between Poe and Redon and emphasizes the crucial role of Poe's work in Redon's progression and acceptance as an artist.Highland planned villages : the architecture of the British Fisheries SocietyMaudlin, Danielhttps://hdl.handle.net/10023/144852019-03-28T15:16:49Z2002-01-01T00:00:00ZThe British Fisheries Society, founded in 1786, was a semi-charitable joint stock company, similar to other improvement trusts of the period established to fund the construction of roads, bridges, canals and hospitals. The Society was however unique in the breadth of its ambition to create a chain of complete settlements or villages the length of the northern Scottish coastline from Dornoch on the east to Oban on the west. These new settlements were intended to be fishing stations focussed on the perceived wealth to be gained from the herring fishery. Four settlements were established at Ullapool, Wester Ross, Tobermory, Mull, Lochbay, Skye and Pulteneytown, Wick, Caithness and the specific intention of this thesis has been to examine those four built environments created by the Society. This includes all elements of the building and design process necessary to 'create' a fishing village incorporating town planning, civil engineering, industrial and vernacular buildings as well as 'architecture' by Robert Mylne and Telford. The construction of each village is followed from the design of the street plan, contracting for works through to the design and construction of diverse works such as inns, storehouses, harbours and bridges. Varying circumstance resulting in each settlement developing its own architectural character despite the Society's standardised plans and policies the settlements are also considered within the wider context of planned villages, New Towns ports, and harbours with specific analysis of individual buildings and types such as Robert Mylne's inn at Tobermory.
2002-01-01T00:00:00ZMaudlin, DanielThe British Fisheries Society, founded in 1786, was a semi-charitable joint stock company, similar to other improvement trusts of the period established to fund the construction of roads, bridges, canals and hospitals. The Society was however unique in the breadth of its ambition to create a chain of complete settlements or villages the length of the northern Scottish coastline from Dornoch on the east to Oban on the west. These new settlements were intended to be fishing stations focussed on the perceived wealth to be gained from the herring fishery. Four settlements were established at Ullapool, Wester Ross, Tobermory, Mull, Lochbay, Skye and Pulteneytown, Wick, Caithness and the specific intention of this thesis has been to examine those four built environments created by the Society. This includes all elements of the building and design process necessary to 'create' a fishing village incorporating town planning, civil engineering, industrial and vernacular buildings as well as 'architecture' by Robert Mylne and Telford. The construction of each village is followed from the design of the street plan, contracting for works through to the design and construction of diverse works such as inns, storehouses, harbours and bridges. Varying circumstance resulting in each settlement developing its own architectural character despite the Society's standardised plans and policies the settlements are also considered within the wider context of planned villages, New Towns ports, and harbours with specific analysis of individual buildings and types such as Robert Mylne's inn at Tobermory.The Office of Works and the renovation of the Scottish Universities 1808-Grant, Davidhttps://hdl.handle.net/10023/144832019-03-28T15:17:27Z2002-01-01T00:00:00ZThis thesis is in four parts and documents the redevelopment in the nineteenth century of the dilapidated University buildings of St.Andrews, Glasgow and King's and Marischal Colleges at Aberdeen. The period under examination dates from 1808 through to the Scotland (University) Act of 1889. The areas researched included the reasons why the University authorities failed to keep their buildings in good repair and the steps taken by their governing bodies to rectify the situation. It was found this problem was caused by a continuing yearly fall in their income and it was imperative that government funding was made available to alleviate the situation. Similarly researched in detail was the part played by the Office of Works in Scotland along with the private architects who were responsible for the rehabilitation of the old buildings and the erection of new purpose built accommodation. Part One looks at the historical background leading to the formation of the Scottish Office of Works in January, 1827 and its subsequent downgrading to that of a regional office of the Office of Woods and Forests in 1840. The Office of Woods and Forests was under the control of H.M. Treasury until 1857 when a major change took place with the appointment of a First Commissioner of Works responsible to parliament. Parts Two, Three and Four, examine the situation relevant to each individual University and College. Their protracted negotiations with the Treasury are highlighted, as are the subsequent delays in releasing the necessary funding, due in some measure to the bureaucracy of the period. The review of the building process is completed by examining the details surrounding the appointment of the architects and contractors involved in the construction of these new buildings. By mid century architects were having to cope with new technological advances, new materials, new methods of construction and new revived architectural styles which are dealt with in the text.
2002-01-01T00:00:00ZGrant, DavidThis thesis is in four parts and documents the redevelopment in the nineteenth century of the dilapidated University buildings of St.Andrews, Glasgow and King's and Marischal Colleges at Aberdeen. The period under examination dates from 1808 through to the Scotland (University) Act of 1889. The areas researched included the reasons why the University authorities failed to keep their buildings in good repair and the steps taken by their governing bodies to rectify the situation. It was found this problem was caused by a continuing yearly fall in their income and it was imperative that government funding was made available to alleviate the situation. Similarly researched in detail was the part played by the Office of Works in Scotland along with the private architects who were responsible for the rehabilitation of the old buildings and the erection of new purpose built accommodation. Part One looks at the historical background leading to the formation of the Scottish Office of Works in January, 1827 and its subsequent downgrading to that of a regional office of the Office of Woods and Forests in 1840. The Office of Woods and Forests was under the control of H.M. Treasury until 1857 when a major change took place with the appointment of a First Commissioner of Works responsible to parliament. Parts Two, Three and Four, examine the situation relevant to each individual University and College. Their protracted negotiations with the Treasury are highlighted, as are the subsequent delays in releasing the necessary funding, due in some measure to the bureaucracy of the period. The review of the building process is completed by examining the details surrounding the appointment of the architects and contractors involved in the construction of these new buildings. By mid century architects were having to cope with new technological advances, new materials, new methods of construction and new revived architectural styles which are dealt with in the text.Negotiating the urban terrain : representations of the city of Glasgow in the visual artsPollock, Venda L.https://hdl.handle.net/10023/144802019-03-28T15:16:34Z2003-01-01T00:00:00ZThis thesis analyses representations of the city of Glasgow in visual culture. Given the absence of any coherent study of Glasgow images the primary method is empirical. The thesis explores how the dynamic of change in the urban environment has been rendered in visual media by gathering together paintings, photographs, prints and journal illustrations. In order to contextualise the visual material within the social and historical circumstances that affect its character, this material is considered in relation to pertinent history and theory. Consequently, the disciplines of social and economic history, sociology, philosophy and urban studies are employed. The developing discourse of the city as a visual phenomenon is charted in a broadly chronological manner. Rather than a simplistic historical narrative, this highlights the unfolding connections between the ambitions of Glasgow's 'governors' and the ideological pattern of related images. The thesis opens by revealing the associations between Enlightenment philosophy and the visual interpretation of the increasingly commercial urban environment. It then analyses changes incurred by the projection of a 'municipal' consciousness and shows how the impact of industrialisation was visualised in relation to prevailing artistic styles. Furthermore, it considers the effect of the aesthetic climate on the creation and reception of urban imagery. The thesis then argues that, after the industrial heyday, there was a sense that the essence of Glasgow lay not in its monuments, but in its populace, particularly the working class. Finally, there is a close study of post-industrial Glasgow, accenting patterns of decline and highlighting resistance to commercially inspired and culturally directed 'official' visions. This thesis finds that there was a complex discourse between Glasgow's material reality and its visual representation. It gives full voice to the network of mediating factors and presents a highly specific case study in the aesthetic manifestation of urban life.
2003-01-01T00:00:00ZPollock, Venda L.This thesis analyses representations of the city of Glasgow in visual culture. Given the absence of any coherent study of Glasgow images the primary method is empirical. The thesis explores how the dynamic of change in the urban environment has been rendered in visual media by gathering together paintings, photographs, prints and journal illustrations. In order to contextualise the visual material within the social and historical circumstances that affect its character, this material is considered in relation to pertinent history and theory. Consequently, the disciplines of social and economic history, sociology, philosophy and urban studies are employed. The developing discourse of the city as a visual phenomenon is charted in a broadly chronological manner. Rather than a simplistic historical narrative, this highlights the unfolding connections between the ambitions of Glasgow's 'governors' and the ideological pattern of related images. The thesis opens by revealing the associations between Enlightenment philosophy and the visual interpretation of the increasingly commercial urban environment. It then analyses changes incurred by the projection of a 'municipal' consciousness and shows how the impact of industrialisation was visualised in relation to prevailing artistic styles. Furthermore, it considers the effect of the aesthetic climate on the creation and reception of urban imagery. The thesis then argues that, after the industrial heyday, there was a sense that the essence of Glasgow lay not in its monuments, but in its populace, particularly the working class. Finally, there is a close study of post-industrial Glasgow, accenting patterns of decline and highlighting resistance to commercially inspired and culturally directed 'official' visions. This thesis finds that there was a complex discourse between Glasgow's material reality and its visual representation. It gives full voice to the network of mediating factors and presents a highly specific case study in the aesthetic manifestation of urban life.The diffusion of Constructivist ideas in publications in Germany, 1918-1925Durand, Corinne D.https://hdl.handle.net/10023/144762019-03-28T15:17:10Z2001-01-01T00:00:00ZAfter a long period of disrupted communication, the years 1918-21 saw a rapid infiltration of Russian post-revolutionary culture into German progressive circles. In the thriving book market of Berlin, resourceful apologists like El Lissitzky and Il'ya Erenburg found conditions favourable to the diffusion of their ideas and played a critical role in encouraging pro-Soviet sentiment among the local vanguard. Their cosmopolitan enthusiasm, shared by a number of artists throughout Europe, bolstered hopes for co-operation between the modernist forces of all countries. For a brief while. Constructivism became a rallying point for those artists who had faith in their ability to foster cultural transformation and felt a common purpose in creating an environment conducive to social harmony. Various initiatives were taken to lay the foundation for a truly cohesive effort but yielded only temporary alliances. Serving as alternative platforms from which to gain influence and individual recognition, periodicals and slim book publications ultimately provided the main element of continuity in the attempt to found a Constructivist International. By 1925, those who had devoted most energy to this collective project had distanced themselves from a strong identification as Constructivists on the Berlin art scene and struck out in new directions.
2001-01-01T00:00:00ZDurand, Corinne D.After a long period of disrupted communication, the years 1918-21 saw a rapid infiltration of Russian post-revolutionary culture into German progressive circles. In the thriving book market of Berlin, resourceful apologists like El Lissitzky and Il'ya Erenburg found conditions favourable to the diffusion of their ideas and played a critical role in encouraging pro-Soviet sentiment among the local vanguard. Their cosmopolitan enthusiasm, shared by a number of artists throughout Europe, bolstered hopes for co-operation between the modernist forces of all countries. For a brief while. Constructivism became a rallying point for those artists who had faith in their ability to foster cultural transformation and felt a common purpose in creating an environment conducive to social harmony. Various initiatives were taken to lay the foundation for a truly cohesive effort but yielded only temporary alliances. Serving as alternative platforms from which to gain influence and individual recognition, periodicals and slim book publications ultimately provided the main element of continuity in the attempt to found a Constructivist International. By 1925, those who had devoted most energy to this collective project had distanced themselves from a strong identification as Constructivists on the Berlin art scene and struck out in new directions.Occupational clothing in Fife museums, 1790-1914Macrae, Joanna M.https://hdl.handle.net/10023/140042019-03-28T15:16:59Z2004-01-01T00:00:00ZThis thesis surveys the holdings of occupational clothing in Fife museums' collections and considers whether they form a representative selection in relation to the occupational structure of Fife between 1790 and 1914. Occupational clothing is defined as any clothing worn by an individual in the course of their work, specialised or not. Uniforms of a national nature, for instance those of the police force and railway employees, are not considered, only those related specifically to Fife. Through the use of statistical accounts, census returns and trade directories, an occupational profile of Fife during the period has been constructed. The four main areas of employment - agriculture, textiles, mining and fishing - are dealt with in some detail and other trades and occupations are mentioned where specific or specialised garments can be associated with them. Information from surviving garments is supplemented by the study of fine art and photographic images. The holdings of occupational garments are minimal. The problems of survival of textiles and the tendency for museums to concentrate their often haphazard costume collecting on finer garments have exacerbated this situation. The possibilities of active collecting of occupational garments and cooperation between institutions on this matter are investigated.
2004-01-01T00:00:00ZMacrae, Joanna M.This thesis surveys the holdings of occupational clothing in Fife museums' collections and considers whether they form a representative selection in relation to the occupational structure of Fife between 1790 and 1914. Occupational clothing is defined as any clothing worn by an individual in the course of their work, specialised or not. Uniforms of a national nature, for instance those of the police force and railway employees, are not considered, only those related specifically to Fife. Through the use of statistical accounts, census returns and trade directories, an occupational profile of Fife during the period has been constructed. The four main areas of employment - agriculture, textiles, mining and fishing - are dealt with in some detail and other trades and occupations are mentioned where specific or specialised garments can be associated with them. Information from surviving garments is supplemented by the study of fine art and photographic images. The holdings of occupational garments are minimal. The problems of survival of textiles and the tendency for museums to concentrate their often haphazard costume collecting on finer garments have exacerbated this situation. The possibilities of active collecting of occupational garments and cooperation between institutions on this matter are investigated.Ingenious Italians : immigrant artists in eighteenth-century BritainMcHale, Katherine Jeanhttps://hdl.handle.net/10023/138542023-06-19T10:21:13Z2018-06-28T00:00:00ZItalian artists working in eighteenth-century Britain played a significant role in the
country’s developing interest in the fine arts. The contributions of artists arriving before
mid-century, including Pellegrini, Ricci, and Canaletto, have been noted, but the presence
of a larger number of Italians from mid-century is seldom acknowledged. Increasing
British wealth and attention to the arts meant more customers for immigrant Italian
artists. Bringing with them the skills for which they were renowned throughout Europe,
their talents were valued in Britain. Many stayed for prolonged periods, raising families
and becoming active members in the artistic community. In a thriving economy, they
found opportunities to produce innovative works for a new clientele, devising histories,
landscapes, portraits, and prints to entice buyers. The most successful were accomplished
networkers, maintaining cordial relationships with British artists and cultivating a variety
of patrons. They influenced others through teaching, through formal and informal
exchanges with colleagues, and through exhibition of their works that could be studied and emulated.
2018-06-28T00:00:00ZMcHale, Katherine JeanItalian artists working in eighteenth-century Britain played a significant role in the
country’s developing interest in the fine arts. The contributions of artists arriving before
mid-century, including Pellegrini, Ricci, and Canaletto, have been noted, but the presence
of a larger number of Italians from mid-century is seldom acknowledged. Increasing
British wealth and attention to the arts meant more customers for immigrant Italian
artists. Bringing with them the skills for which they were renowned throughout Europe,
their talents were valued in Britain. Many stayed for prolonged periods, raising families
and becoming active members in the artistic community. In a thriving economy, they
found opportunities to produce innovative works for a new clientele, devising histories,
landscapes, portraits, and prints to entice buyers. The most successful were accomplished
networkers, maintaining cordial relationships with British artists and cultivating a variety
of patrons. They influenced others through teaching, through formal and informal
exchanges with colleagues, and through exhibition of their works that could be studied and emulated.Provisions for visually impaired people in museums and galleries in Scotland : an investigationSmith, Heather Jacqueline Louisehttps://hdl.handle.net/10023/129082019-03-28T15:16:48Z2003-01-01T00:00:00ZThis investigation aims to assess issues of physical, sensory and intellectual access to museums and galleries in Scotland, with a particular relevance to people with sight difficulties. The research has been completed from the point of view of the visually impaired visitor, using original fieldwork comprising visits to museums accompanied by people with different types of sight difficulties. An examination of the facilities provided has been undertaken from the visitors' perspective alongside the current and forthcoming legislative requirements. The opinions of the museums' community have been taken into consideration primarily by discussions with the curators of the museums and galleries visited. An appreciation of the legislative stimulus for museums and galleries to consider people with disabilities, the Disability Discrimination Act 1995, is also attempted, including reports from the MPs involved in the development and the introduction of this legislation and the MSPs with responsibilities for the representation of people with disabilities in the Scottish Parliament. A particular focus is applied to the introduction of Part 111 of the legislation which was enacted during the research period and used as a stimulus for the areas of questioning with the visually impaired people who assisted. This facilitates the presentation of a context against which to place the findings of the discussions with visually impaired people. Visitors are an essential requirement for the existence and future of museums and galleries and the potential audience of people with visual impairments is increasing and significant.
2003-01-01T00:00:00ZSmith, Heather Jacqueline LouiseThis investigation aims to assess issues of physical, sensory and intellectual access to museums and galleries in Scotland, with a particular relevance to people with sight difficulties. The research has been completed from the point of view of the visually impaired visitor, using original fieldwork comprising visits to museums accompanied by people with different types of sight difficulties. An examination of the facilities provided has been undertaken from the visitors' perspective alongside the current and forthcoming legislative requirements. The opinions of the museums' community have been taken into consideration primarily by discussions with the curators of the museums and galleries visited. An appreciation of the legislative stimulus for museums and galleries to consider people with disabilities, the Disability Discrimination Act 1995, is also attempted, including reports from the MPs involved in the development and the introduction of this legislation and the MSPs with responsibilities for the representation of people with disabilities in the Scottish Parliament. A particular focus is applied to the introduction of Part 111 of the legislation which was enacted during the research period and used as a stimulus for the areas of questioning with the visually impaired people who assisted. This facilitates the presentation of a context against which to place the findings of the discussions with visually impaired people. Visitors are an essential requirement for the existence and future of museums and galleries and the potential audience of people with visual impairments is increasing and significant.How improving documentation, as part of the remit of collections management, can increase intellectual access to museum collections for the purpose of academic researchChristie, Sarah C.https://hdl.handle.net/10023/129072019-03-28T15:18:22Z2005-01-01T00:00:00ZAs part of the remit of collections management the responsibility for documenting and recording objects in museum collections is fundamental. A shifting focus on museum priorities in recent years, however, has led to the acknowledged neglect of collections and specifically collections-based research. Sector and institution led policies are now being put in place to reverse this situation, but accountable and relevant use of collections as a resource for research can only be achieved if basic documentation exists to support access. This paper will demonstrate how intellectual access to museum collections, for the purpose of academic research, can be increased through improved documentation. Museums must prioritise fundamental principles of documentation in order to establish collections as relevant and reliable resources for research. Only when Museums are accountable for both the physical and intellectual integrity of objects in their collections can they confidently allow access to the collection and related archives. By using the example of an active project, the primary goal of which is to highlight the research potential of public collections in the UK, together with the working examples of the National Galleries of Scotland and the Hunterian Museum and Art Gallery, University of Glasgow, standards of policy and practice will be reviewed. To give context to the wider discussions, a case study in two parts will look first at the history and development of Glasgow Museums, a local authority service, before evaluating the practical experience of carrying out an enhanced documentation project on a select area of Glasgow's fine art collection. Current practice will be evaluated, followed by appropriate criticism and recommendations. Comparisons will be drawn between the three institutional examples used, considering their individual successes and failures.
2005-01-01T00:00:00ZChristie, Sarah C.As part of the remit of collections management the responsibility for documenting and recording objects in museum collections is fundamental. A shifting focus on museum priorities in recent years, however, has led to the acknowledged neglect of collections and specifically collections-based research. Sector and institution led policies are now being put in place to reverse this situation, but accountable and relevant use of collections as a resource for research can only be achieved if basic documentation exists to support access. This paper will demonstrate how intellectual access to museum collections, for the purpose of academic research, can be increased through improved documentation. Museums must prioritise fundamental principles of documentation in order to establish collections as relevant and reliable resources for research. Only when Museums are accountable for both the physical and intellectual integrity of objects in their collections can they confidently allow access to the collection and related archives. By using the example of an active project, the primary goal of which is to highlight the research potential of public collections in the UK, together with the working examples of the National Galleries of Scotland and the Hunterian Museum and Art Gallery, University of Glasgow, standards of policy and practice will be reviewed. To give context to the wider discussions, a case study in two parts will look first at the history and development of Glasgow Museums, a local authority service, before evaluating the practical experience of carrying out an enhanced documentation project on a select area of Glasgow's fine art collection. Current practice will be evaluated, followed by appropriate criticism and recommendations. Comparisons will be drawn between the three institutional examples used, considering their individual successes and failures.A comparative cultural approach within fund raising theory : looking at British and American museumsWatt, Eliza B.https://hdl.handle.net/10023/129062019-03-28T15:18:30Z2003-01-01T00:00:00ZThis text is a study of the cultural approach within fund raising theory in museums, looking specifically at museums within the United States and Great Britain. The definition of fund raising is established, as well as a definition of philanthropy, as one cannot exist without the other. A close study is made of the way in which museums are established according to each individual countries laws, and how these laws affect the practice of fund raising. Since the law defines how a potential donor can give money to a museum the tax implications of the Internal Revenue Service Code of America and the Inland Revenue of Great Britain are examined. Having defined the legal issues of fund raising and established how a donor can give money, the question 'why does someone donate?' is looked at with regard to each country. The individual means of conducting fund raising are different for both of the countries under question, and is intimately bound together with the evolution of the idea of a museum. Once the motives for donating have been established a close inspection of the methods of conducting fund raising, in terms of the general public, trusts, and government sources, is analysed for both America and Britain. Also, the question of what the practice of fund raising is developing towards is looked at for both countries - how have recent changes in law and societal shifts changed fund raising in museums? The final comparison of the overall methods of each country shows not only differences and similarities, but also how each system could potentially benefit from the other; how a reconciliation of the differences between the two systems could provide a greater understanding of the fundamental nature of museum fund raising.
2003-01-01T00:00:00ZWatt, Eliza B.This text is a study of the cultural approach within fund raising theory in museums, looking specifically at museums within the United States and Great Britain. The definition of fund raising is established, as well as a definition of philanthropy, as one cannot exist without the other. A close study is made of the way in which museums are established according to each individual countries laws, and how these laws affect the practice of fund raising. Since the law defines how a potential donor can give money to a museum the tax implications of the Internal Revenue Service Code of America and the Inland Revenue of Great Britain are examined. Having defined the legal issues of fund raising and established how a donor can give money, the question 'why does someone donate?' is looked at with regard to each country. The individual means of conducting fund raising are different for both of the countries under question, and is intimately bound together with the evolution of the idea of a museum. Once the motives for donating have been established a close inspection of the methods of conducting fund raising, in terms of the general public, trusts, and government sources, is analysed for both America and Britain. Also, the question of what the practice of fund raising is developing towards is looked at for both countries - how have recent changes in law and societal shifts changed fund raising in museums? The final comparison of the overall methods of each country shows not only differences and similarities, but also how each system could potentially benefit from the other; how a reconciliation of the differences between the two systems could provide a greater understanding of the fundamental nature of museum fund raising.The visitor study in Scotland during the 1990s: an examination of research into the visitors of museums and galleries with particular reference to the arts.Tyas, Peterhttps://hdl.handle.net/10023/129022019-03-28T15:17:32Z2002-01-01T00:00:00ZThe visitors to museums and galleries have been studied from a variety of perspectives and with a variety of goals. This thesis seeks to draw together the varying techniques and attitudes towards the visitor, as well as summarise the current position of museologists towards the relationships involved in museum visiting. The focus of this study is Scotland during the 1990s, though long terms trends which extend beyond this time frame will also be included, as will contextual data into international patterns of attendance and attitudes. The main areas of concern within this thesis are: firstly, the characteristics of museum and gallery visitors; secondly, the attitudes and perceptions of the public towards the arts and museum and gallery visiting; thirdly, the motivational forces which induce visiting and the factors which act as barriers to attendance; and fourthly, the general climate within which museum and gallery visiting takes place. This study will analyse the collection methods as well as the conclusion for qualitative and quantitative data. This will include a contextual study of the climate within which the research has been commissioned, conducted and criticised. The visitor study is inextricably linked to the society that produced it. Long term comparisons of visitor studies are not always possible, due to differences in collection methods and the parameters of study. Comparisons of the assumptions and the methodologies that drive research are highly informative and can be used to express the changing nature of visitor studies. This thesis seeks to divide the museum and gallery audience into its constituent parts, and to prove that there exists a multifarious visiting public. There is no average museum visitor, nor a set of visitor profiles for all museums and galleries, instead there are distinct audience profiles for specific venues.
2002-01-01T00:00:00ZTyas, PeterThe visitors to museums and galleries have been studied from a variety of perspectives and with a variety of goals. This thesis seeks to draw together the varying techniques and attitudes towards the visitor, as well as summarise the current position of museologists towards the relationships involved in museum visiting. The focus of this study is Scotland during the 1990s, though long terms trends which extend beyond this time frame will also be included, as will contextual data into international patterns of attendance and attitudes. The main areas of concern within this thesis are: firstly, the characteristics of museum and gallery visitors; secondly, the attitudes and perceptions of the public towards the arts and museum and gallery visiting; thirdly, the motivational forces which induce visiting and the factors which act as barriers to attendance; and fourthly, the general climate within which museum and gallery visiting takes place. This study will analyse the collection methods as well as the conclusion for qualitative and quantitative data. This will include a contextual study of the climate within which the research has been commissioned, conducted and criticised. The visitor study is inextricably linked to the society that produced it. Long term comparisons of visitor studies are not always possible, due to differences in collection methods and the parameters of study. Comparisons of the assumptions and the methodologies that drive research are highly informative and can be used to express the changing nature of visitor studies. This thesis seeks to divide the museum and gallery audience into its constituent parts, and to prove that there exists a multifarious visiting public. There is no average museum visitor, nor a set of visitor profiles for all museums and galleries, instead there are distinct audience profiles for specific venues.Competing constructions of nature in early photographs of vegetation : negotiation, dissonance, subversionLabo, Norahttps://hdl.handle.net/10023/128072021-03-23T10:24:10Z2018-06-28T00:00:00ZWhile the role of photography in enforcing hegemonic ideologies has been amply
studied, this thesis addresses the under-researched topic of how photography undermined
dominant narratives in specific historical circumstances. I argue that, in the later part of
the long nineteenth century, photographs were used to represent the natural world in
contexts where their functions were uncertain and their capacities not clearly defined, and
that these hesitations allowed for the expression of resistances to dominant social
attitudes towards nature.
I analyse how these divergences were articulated through three independent case
studies, each addressing a corpus of photographs which has been marginalised in
scholarly discourse. The case studies all concern photographs of vegetation. The first one
discusses photographs produced around Fontainebleau during the Second French
Empire, commonly understood as auxiliary materials for Barbizon painters, and argues
that they were in fact autonomous representations, reflecting marginal modes of
experiencing nature which resisted its prevailing construction as spectacle. The second
case study examines a photographic series depicting Amazonian vegetation, published
between 1900 and 1906, and shows how, in attempting to satisfy conflicting ideological
demands, these photographs undermined the hierarchies enforced upon the natural world
by colonial science. The third case study analyses photographs from an early twentieth-century
environmentalist treatise, and demonstrates how, while the author's discourse
seemingly complied with conventional attitudes towards nature, the photographs
instituted an ethical stance opposed to early conservation's aesthetic focus and
anthropocentrism.
Throughout the case studies, I argue that the photographs were consubstantial to
the emergence of these resistances; that dissenting representations stemmed from a
tension between their producers' lived experience and the ideological frameworks which
informed each context; and that this process engendered remarkable formal innovations,
which are not usually associated to non-artistic images. I contend that radical renewals of
visual expression occur in all representational contexts, as image producers adapt their
tools or forge new ones according to circumstances, and that more attention must be paid
to such visual innovations outside the field of artistic production.
2018-06-28T00:00:00ZLabo, NoraWhile the role of photography in enforcing hegemonic ideologies has been amply
studied, this thesis addresses the under-researched topic of how photography undermined
dominant narratives in specific historical circumstances. I argue that, in the later part of
the long nineteenth century, photographs were used to represent the natural world in
contexts where their functions were uncertain and their capacities not clearly defined, and
that these hesitations allowed for the expression of resistances to dominant social
attitudes towards nature.
I analyse how these divergences were articulated through three independent case
studies, each addressing a corpus of photographs which has been marginalised in
scholarly discourse. The case studies all concern photographs of vegetation. The first one
discusses photographs produced around Fontainebleau during the Second French
Empire, commonly understood as auxiliary materials for Barbizon painters, and argues
that they were in fact autonomous representations, reflecting marginal modes of
experiencing nature which resisted its prevailing construction as spectacle. The second
case study examines a photographic series depicting Amazonian vegetation, published
between 1900 and 1906, and shows how, in attempting to satisfy conflicting ideological
demands, these photographs undermined the hierarchies enforced upon the natural world
by colonial science. The third case study analyses photographs from an early twentieth-century
environmentalist treatise, and demonstrates how, while the author's discourse
seemingly complied with conventional attitudes towards nature, the photographs
instituted an ethical stance opposed to early conservation's aesthetic focus and
anthropocentrism.
Throughout the case studies, I argue that the photographs were consubstantial to
the emergence of these resistances; that dissenting representations stemmed from a
tension between their producers' lived experience and the ideological frameworks which
informed each context; and that this process engendered remarkable formal innovations,
which are not usually associated to non-artistic images. I contend that radical renewals of
visual expression occur in all representational contexts, as image producers adapt their
tools or forge new ones according to circumstances, and that more attention must be paid
to such visual innovations outside the field of artistic production.The medieval art and architecture of Scottish collegiate churchesSwarbrick, Elizabeth Joyhttps://hdl.handle.net/10023/122102018-07-24T08:31:22Z2017-06-22T00:00:00ZCollegiate churches were founded for two essential aims: the augmentation of divine worship, and the salvation of souls. This thesis brings to light just how important material and aesthetic enrichments were in regards to these functions. The vast majority of collegiate churches in Scotland were substantially augmented around the time of their foundation. Patrons undertook significant building programmes and provided a variety of furnishings and ornaments to facilitate and enrich the services their body of clergy performed. Precise statutes were laid down in order to ensure that clergy were skilled singers and organists. Many founders also made provision for their burial within their collegiate churches so that they could garner the maximum spiritual benefit from the organisations that they had founded.
To the author’s knowledge, this is the first in-depth account of the art and architecture of Scottish medieval colleges. This thesis looks closely at the architecture, furnishings, rituals, music, imagery, and commemorative functions of the forty-nine collegiate churches founded in Scotland. A close concentration on this institutional form has meant that buildings, artworks, and practices which have hitherto not received significant scholarly attention have been carefully scrutinised. Furthermore, by looking at so many aspects of collegiate churches, the present study enriches an understanding of these institutions by providing a more holistic picture of their functions and significance. Ultimately this thesis examines why physical and aesthetic enrichment went hand in hand with the founding of a college, and what role this material culture had in regards to how collegiate churches functioned.
2017-06-22T00:00:00ZSwarbrick, Elizabeth JoyCollegiate churches were founded for two essential aims: the augmentation of divine worship, and the salvation of souls. This thesis brings to light just how important material and aesthetic enrichments were in regards to these functions. The vast majority of collegiate churches in Scotland were substantially augmented around the time of their foundation. Patrons undertook significant building programmes and provided a variety of furnishings and ornaments to facilitate and enrich the services their body of clergy performed. Precise statutes were laid down in order to ensure that clergy were skilled singers and organists. Many founders also made provision for their burial within their collegiate churches so that they could garner the maximum spiritual benefit from the organisations that they had founded.
To the author’s knowledge, this is the first in-depth account of the art and architecture of Scottish medieval colleges. This thesis looks closely at the architecture, furnishings, rituals, music, imagery, and commemorative functions of the forty-nine collegiate churches founded in Scotland. A close concentration on this institutional form has meant that buildings, artworks, and practices which have hitherto not received significant scholarly attention have been carefully scrutinised. Furthermore, by looking at so many aspects of collegiate churches, the present study enriches an understanding of these institutions by providing a more holistic picture of their functions and significance. Ultimately this thesis examines why physical and aesthetic enrichment went hand in hand with the founding of a college, and what role this material culture had in regards to how collegiate churches functioned.Spot-on or not? : an analysis of Seurat's colour theoryMarks-Donaldson, Roberta Lynnehttps://hdl.handle.net/10023/121742019-03-28T15:18:20Z1997-01-01T00:00:00ZAn analysis of mid- to late-nineteenth century scientific colour theories sets the stage for the introduction of the artistic style of French painter Georges Seurat. His traditional beaux-arts training, extraordinary skills as a draughtsman, and keen interest in the then existing science theories on colour combined in his person to create a new approach called Divisionism, (also called Pointillisme, pointillism, and melange optique). As Seurat's readings of scientific literature and his practical applications of the theories to his artistic style became refined, a new movement called Neo-Impressionism developed around him and through his example. Amidst both critical acclaim and scorn, Seurat proceeded with great determination from his novel drawing style to a refinement of his approach to colour. An untimely death ended the research of this singular artist just years before scientific findings were published which would have forced Seurat into a different approach. An intensive look at Seurat's theories and key pieces is considered in terms of his objectives: A major point is whether what we now consider to be Seurat's theory was really what he had in mind; have our present perceptions distorted his original intentions? The materials Seurat had at hand, the chemical composition of the pigments and the effects of time, grime and light are discussed as to their impacts on achieving his goals. An in-depth comparison of late twentieth-century colour research in perception via psychological, neurophysiological and artistic/emotional routes point out the strengths and weaknesses of Seurat's approach and explains what really happens in the visual process, as far as it is understood today. Scientific colour theories and artistic colour approaches can form a redoubtable partnership but could they ever have become one to exist in the optical mixture we believe Seurat had so wished to elicit?
1997-01-01T00:00:00ZMarks-Donaldson, Roberta LynneAn analysis of mid- to late-nineteenth century scientific colour theories sets the stage for the introduction of the artistic style of French painter Georges Seurat. His traditional beaux-arts training, extraordinary skills as a draughtsman, and keen interest in the then existing science theories on colour combined in his person to create a new approach called Divisionism, (also called Pointillisme, pointillism, and melange optique). As Seurat's readings of scientific literature and his practical applications of the theories to his artistic style became refined, a new movement called Neo-Impressionism developed around him and through his example. Amidst both critical acclaim and scorn, Seurat proceeded with great determination from his novel drawing style to a refinement of his approach to colour. An untimely death ended the research of this singular artist just years before scientific findings were published which would have forced Seurat into a different approach. An intensive look at Seurat's theories and key pieces is considered in terms of his objectives: A major point is whether what we now consider to be Seurat's theory was really what he had in mind; have our present perceptions distorted his original intentions? The materials Seurat had at hand, the chemical composition of the pigments and the effects of time, grime and light are discussed as to their impacts on achieving his goals. An in-depth comparison of late twentieth-century colour research in perception via psychological, neurophysiological and artistic/emotional routes point out the strengths and weaknesses of Seurat's approach and explains what really happens in the visual process, as far as it is understood today. Scientific colour theories and artistic colour approaches can form a redoubtable partnership but could they ever have become one to exist in the optical mixture we believe Seurat had so wished to elicit?Into the past : nationalism and heritage in the neoliberal ageGledhill, Jameshttps://hdl.handle.net/10023/121142020-02-20T11:58:13Z2017-12-08T00:00:00ZThis thesis examines the ideological nexus of nationalism and heritage under the social conditions of neoliberalism. The investigation aims to demonstrate how neoliberal economics stimulate the irrationalism manifest in nationalist idealisation of the past. The institutionalisation of national heritage was originally a rational function of the modern state, symbolic of its political and cultural authority. With neoliberal erosion of the productive economy and public institutions, heritage and nostalgia proliferate today in all areas of social life. It is argued that this represents a social pathology linked to the neoliberal state’s inability to construct a future-orientated national project. These conditions enhance the appeal of irrational nationalist and regionalist ideologies idealising the past as a source of cultural purity. Unable to achieve social cohesion, the neoliberal state promotes multiculturalism, encouraging minorities to embrace essentialist identity politics that parallel the nativism of right-wing nationalists and regionalists. This phenomenon is contextualised within the general crisis of progressive modernisation in Western societies that has accompanied neoliberalisation and globalisation.
A new theory of activist heritage is advanced to describe autonomous, politicised heritage that appropriates forms and practices from the state heritage sector. Using this concept, the politics of irrational nationalism and regionalism are explored through fieldwork, including participant observation, interviews and photography.
The interaction of state and activist heritage is considered at the Wewelsburg 1933-1945 Memorial Museum in Germany wherein neofascists have re-signified Nazi material culture, reactivating it within contemporary political narratives. The activist heritage of Israeli Zionism, Irish Republicanism and Ulster Loyalism is analysed through studies of museums, heritage centres, archaeological sites, exhibitions, monuments and historical re-enactments. These illustrate how activist heritage represents a political strategy within irrational ideologies that interpret the past as the ethical model for the future. This work contends that irrational nationalism fundamentally challenges the Enlightenment’s assertion of reason over faith, and culture over nature, by superimposing pre-modern ideas upon the structure of modernity. An ideological product of the Enlightenment, the nation state remains the only political unit within which a rational command of time and space is possible, and thus the only viable basis for progressive modernity.
2017-12-08T00:00:00ZGledhill, JamesThis thesis examines the ideological nexus of nationalism and heritage under the social conditions of neoliberalism. The investigation aims to demonstrate how neoliberal economics stimulate the irrationalism manifest in nationalist idealisation of the past. The institutionalisation of national heritage was originally a rational function of the modern state, symbolic of its political and cultural authority. With neoliberal erosion of the productive economy and public institutions, heritage and nostalgia proliferate today in all areas of social life. It is argued that this represents a social pathology linked to the neoliberal state’s inability to construct a future-orientated national project. These conditions enhance the appeal of irrational nationalist and regionalist ideologies idealising the past as a source of cultural purity. Unable to achieve social cohesion, the neoliberal state promotes multiculturalism, encouraging minorities to embrace essentialist identity politics that parallel the nativism of right-wing nationalists and regionalists. This phenomenon is contextualised within the general crisis of progressive modernisation in Western societies that has accompanied neoliberalisation and globalisation.
A new theory of activist heritage is advanced to describe autonomous, politicised heritage that appropriates forms and practices from the state heritage sector. Using this concept, the politics of irrational nationalism and regionalism are explored through fieldwork, including participant observation, interviews and photography.
The interaction of state and activist heritage is considered at the Wewelsburg 1933-1945 Memorial Museum in Germany wherein neofascists have re-signified Nazi material culture, reactivating it within contemporary political narratives. The activist heritage of Israeli Zionism, Irish Republicanism and Ulster Loyalism is analysed through studies of museums, heritage centres, archaeological sites, exhibitions, monuments and historical re-enactments. These illustrate how activist heritage represents a political strategy within irrational ideologies that interpret the past as the ethical model for the future. This work contends that irrational nationalism fundamentally challenges the Enlightenment’s assertion of reason over faith, and culture over nature, by superimposing pre-modern ideas upon the structure of modernity. An ideological product of the Enlightenment, the nation state remains the only political unit within which a rational command of time and space is possible, and thus the only viable basis for progressive modernity.Hew Lorimer : a special kind of artistFenton, Beverley Annehttps://hdl.handle.net/10023/120912019-03-28T15:17:41Z1995-01-01T00:00:00ZThis thesis seeks firstly to provide an overview of the life and
work of the Scottish sculptor and craftsman, Hew Lorimer, and
secondly to discuss some issues concerning contemporary craft,
and the significance this has for museums and galleries.
Part one includes a chronological survey of the life and achievements of the sculptor, a comprehensive catalogue of his
work and an inventory of his studio at the time of his death. It is
intended to provide a body of detailed information which can be
used as a work of reference in the future.
Leading on from certain issues raised in the first section, there
follows a general discussion regarding the distinctions that are
commonly made between art and craft, centred around the
themes of individuality, skill, function and economics. It is
hoped to raise questions concerning the way certain objects are
labelled and evaluated, and relates to the discussion of museum
and gallery display.
The final part of the thesis involves a comparative study of
several museums and galleries with the aim of examining
methods of display, interpretation and collecting, with particular
reference to contemporary crafts.
1995-01-01T00:00:00ZFenton, Beverley AnneThis thesis seeks firstly to provide an overview of the life and
work of the Scottish sculptor and craftsman, Hew Lorimer, and
secondly to discuss some issues concerning contemporary craft,
and the significance this has for museums and galleries.
Part one includes a chronological survey of the life and achievements of the sculptor, a comprehensive catalogue of his
work and an inventory of his studio at the time of his death. It is
intended to provide a body of detailed information which can be
used as a work of reference in the future.
Leading on from certain issues raised in the first section, there
follows a general discussion regarding the distinctions that are
commonly made between art and craft, centred around the
themes of individuality, skill, function and economics. It is
hoped to raise questions concerning the way certain objects are
labelled and evaluated, and relates to the discussion of museum
and gallery display.
The final part of the thesis involves a comparative study of
several museums and galleries with the aim of examining
methods of display, interpretation and collecting, with particular
reference to contemporary crafts.Medical theory and Medici symbolism in Giorgio Vasari's "Vite de' più eccellenti pittori, scultori ed architettori"Nestor, Sara E.https://hdl.handle.net/10023/120532019-03-28T15:18:35Z2001-01-01T00:00:00ZWhen Giorgio Vasari wrote the 'Vite de'piu eccellenti pittori, scultori ed architettori', the intended audience of his text not only included the artists of his own time, but also involved his Medici patrons. Indeed, the book was dedicated to Cosimo I de'Medici. The 'Vite' were thus intended as a guide for artists and as a means of paying homage to Vasari's patron. The quest for artistic perfection, through knowledge, was united with courtly principles and iconography, resulting in the raising of the status of the arts above the level of the mechanical. This was most resolutely achieved through the analysis of medicine, and in particular, the theory of the four humours, which not only governed medical practice, but also were of astrological and philosophical significance. While Vasari's vocabulary drew upon the symbolism of the Medici, who were born under the planet of Saturn, which also governed the melancholy humour, his discussion of the diseases suffered by artists was based upon the sciences of Hippocrates, Aristotle, Galen and Avicenna and were mainly caused by melancholy. Vasari's text also provided the melancholic with his cure, most notably at the Company of the Cazzuola. Here, the artists and their Medici patrons could find repose and amusement. Entertainments were based upon those of the court and included theatrical performances and banqueting. However, medical knowledge was also of practical significance to the painter and the sculptor. It provided a guide to the internal workings of man and thus, the external appearance of disease in the human body. The alteration in human appearance, as a symptom of disease was fully noted by Vasari in his physiognomic descriptions of the artists' appearances caused by temperament, character and disease and finally, found inclusion in the teachings of the Accademia del Disegno of which Giorgio Vasari had been a founding member.
2001-01-01T00:00:00ZNestor, Sara E.When Giorgio Vasari wrote the 'Vite de'piu eccellenti pittori, scultori ed architettori', the intended audience of his text not only included the artists of his own time, but also involved his Medici patrons. Indeed, the book was dedicated to Cosimo I de'Medici. The 'Vite' were thus intended as a guide for artists and as a means of paying homage to Vasari's patron. The quest for artistic perfection, through knowledge, was united with courtly principles and iconography, resulting in the raising of the status of the arts above the level of the mechanical. This was most resolutely achieved through the analysis of medicine, and in particular, the theory of the four humours, which not only governed medical practice, but also were of astrological and philosophical significance. While Vasari's vocabulary drew upon the symbolism of the Medici, who were born under the planet of Saturn, which also governed the melancholy humour, his discussion of the diseases suffered by artists was based upon the sciences of Hippocrates, Aristotle, Galen and Avicenna and were mainly caused by melancholy. Vasari's text also provided the melancholic with his cure, most notably at the Company of the Cazzuola. Here, the artists and their Medici patrons could find repose and amusement. Entertainments were based upon those of the court and included theatrical performances and banqueting. However, medical knowledge was also of practical significance to the painter and the sculptor. It provided a guide to the internal workings of man and thus, the external appearance of disease in the human body. The alteration in human appearance, as a symptom of disease was fully noted by Vasari in his physiognomic descriptions of the artists' appearances caused by temperament, character and disease and finally, found inclusion in the teachings of the Accademia del Disegno of which Giorgio Vasari had been a founding member.Re-imag(in)ing history : photography and the sugar industry in colonial JavaSupartono, Alexanderhttps://hdl.handle.net/10023/119092020-07-30T08:15:52Z2015-01-01T00:00:00ZThis thesis seeks to examine the ways that the success of the Dutch Empire at the turn of the twentieth century was represented and celebrated in the photographic albums of Dutch sugar industrialists in Java. It aims to show how the photographic practices that developed in the colony in parallel with its industrialisation informed the ways that the colony was imagined in the metropolis and the colony. Whether social portraiture, topographic studies or depictions of industrial machinery and infrastructure, the photographs of the sugar industry were part and parcel of a topical vernacular tradition that generated distinct visual themes in the development of popular photographic genres, and which reflected the cultural hybridity and social stratification of the local sugar world.
This analysis is pursued through close reading of the photographic albums of the Pietermaat-Soesman family from the Kalibagor sugar factory in Java. These albums exemplify how the family albums of sugar industrialists retained the familiarity and cult value of the family album whilst illustrating the values and attitudes of the colonial industry and society. What is more, the Pietermaat-Soesman albums underline the significance of the albums’ materiality; their story is not only one of images, but also a story of objects. I specifically pay attention to the role of photographers and commercial photo studios in the formulation of the pictorial commonplace of the sugar industry. It is the collaboration between sugar industrialists and colony-based photographers that reveals the social necessity, ideological constraints, pictorial conventions and cultural idioms of colonial industry and society in the Dutch East Indies.
Largely understudied in both the Dutch and Indonesian histories of photography, this material, I argue, may problematise the ideological premises of ‘colonial’ photography.
2015-01-01T00:00:00ZSupartono, AlexanderThis thesis seeks to examine the ways that the success of the Dutch Empire at the turn of the twentieth century was represented and celebrated in the photographic albums of Dutch sugar industrialists in Java. It aims to show how the photographic practices that developed in the colony in parallel with its industrialisation informed the ways that the colony was imagined in the metropolis and the colony. Whether social portraiture, topographic studies or depictions of industrial machinery and infrastructure, the photographs of the sugar industry were part and parcel of a topical vernacular tradition that generated distinct visual themes in the development of popular photographic genres, and which reflected the cultural hybridity and social stratification of the local sugar world.
This analysis is pursued through close reading of the photographic albums of the Pietermaat-Soesman family from the Kalibagor sugar factory in Java. These albums exemplify how the family albums of sugar industrialists retained the familiarity and cult value of the family album whilst illustrating the values and attitudes of the colonial industry and society. What is more, the Pietermaat-Soesman albums underline the significance of the albums’ materiality; their story is not only one of images, but also a story of objects. I specifically pay attention to the role of photographers and commercial photo studios in the formulation of the pictorial commonplace of the sugar industry. It is the collaboration between sugar industrialists and colony-based photographers that reveals the social necessity, ideological constraints, pictorial conventions and cultural idioms of colonial industry and society in the Dutch East Indies.
Largely understudied in both the Dutch and Indonesian histories of photography, this material, I argue, may problematise the ideological premises of ‘colonial’ photography.The artistic patronage of the cardinals of Pope Pius II (1458-64)Richardson, Carol M.https://hdl.handle.net/10023/118482020-02-20T11:57:55Z1996-07-01T00:00:00ZThis dissertation evaluates the patronage of the cardinals - not the popes - in early Renaissance Rome. It concentrates on the watershed papacy of Pius II (1458-64), which was shaped by two major events: the Conciliar debates and the capture of Constantinople by the Turks. The cardinals had been influential in the Councils of Basle and Constance, and held the power to elect the pope. The Turkish overrun of the east arguably coloured the papacy as much as the Conciliar debate forcing the Church to reassess its significance. Thus the cardinals' standing was high but potentially unstable, for their role lacked theological justification. Artistic patronage could lend the cardinals the prestige they required, and Pius found they were an essential resource for the restoration of Rome after a century of neglect. Pius II used the cardinals in a new way. They were his agents in diplomatic negotiations and they were often created by him to curry favour on the European political stage. Their artistic patronage in Rome reflected the growing confidence of the papacy. Pius II himself made only a limited contribution to Rome's restoration, but study of the cardinals' patronage reveals very extensive renewal of the city.The five chapters of this dissertation examine: Pius II's dependence on the College of Cardinals; the relationships the cardinals had with Rome; the tombs of the cardinals and the events surrounding their deaths; five case studies of individual cardinals' patronage; the nature of the artistic developments in the city at the time.There follows an appendix of documents, including a previously unpublished will of Francesco Todeschini Piccolomini. One hundred and fifty images of manuscripts, buildings, sculpture and painting illustrate the text. These also serve as a visual narrative of the artistic patronage of the cardinals at the time of Pope Pius II.
1996-07-01T00:00:00ZRichardson, Carol M.This dissertation evaluates the patronage of the cardinals - not the popes - in early Renaissance Rome. It concentrates on the watershed papacy of Pius II (1458-64), which was shaped by two major events: the Conciliar debates and the capture of Constantinople by the Turks. The cardinals had been influential in the Councils of Basle and Constance, and held the power to elect the pope. The Turkish overrun of the east arguably coloured the papacy as much as the Conciliar debate forcing the Church to reassess its significance. Thus the cardinals' standing was high but potentially unstable, for their role lacked theological justification. Artistic patronage could lend the cardinals the prestige they required, and Pius found they were an essential resource for the restoration of Rome after a century of neglect. Pius II used the cardinals in a new way. They were his agents in diplomatic negotiations and they were often created by him to curry favour on the European political stage. Their artistic patronage in Rome reflected the growing confidence of the papacy. Pius II himself made only a limited contribution to Rome's restoration, but study of the cardinals' patronage reveals very extensive renewal of the city.The five chapters of this dissertation examine: Pius II's dependence on the College of Cardinals; the relationships the cardinals had with Rome; the tombs of the cardinals and the events surrounding their deaths; five case studies of individual cardinals' patronage; the nature of the artistic developments in the city at the time.There follows an appendix of documents, including a previously unpublished will of Francesco Todeschini Piccolomini. One hundred and fifty images of manuscripts, buildings, sculpture and painting illustrate the text. These also serve as a visual narrative of the artistic patronage of the cardinals at the time of Pope Pius II.Carlos Cruz-Diez : from figuration to kineticismSassu Suarez Ferri, Nataliahttps://hdl.handle.net/10023/118172019-09-30T09:59:24Z2015-04-01T00:00:00ZThe Venezuelan artist Carlos Cruz-Diez (b.1923) is an exemplar of modernism both in Europe and in Latin America. This thesis offers a broader understanding of his work by discussing his early paintings as a precedent to his more recognized production. Cruz-Diez’s chief aim as an artist is the liberation of colour, a process undertaken with the motivation of being part of art history, in an avant-garde quest for what his original contribution to art could be. Transition, interaction, colour, space and time: these are the crucial concepts of the work of Cruz-Diez investigated in this thesis and positioned in the Latin American/European and Kinetic/Optical context. Today, Cruz-Diez’s works from his first Physichromie (1959) onwards have been extensively explored both by him in numerous commentaries and by scholars. In contrast, only few works of the 1950s have been displayed and discussed. The key aspect of my argument is that 1959 is not an abrupt beginning to Cruz-Diez’s work but the conclusive stage of a ten-year process of transition from figuration to abstraction. I demonstrate that there is indeed a drawn-out “passage” made of readings and experiments, of “successes” and" “failures”. I argue that this “passage” is articulated along three parallel paths: 1) the detachment from naturalistic or figurative representation; 2) the detachment from the concept of colour as a synonym of pigment on a support; and 3) the shift in emphasis from a “passive” to an “active” spectator.
2015-04-01T00:00:00ZSassu Suarez Ferri, NataliaThe Venezuelan artist Carlos Cruz-Diez (b.1923) is an exemplar of modernism both in Europe and in Latin America. This thesis offers a broader understanding of his work by discussing his early paintings as a precedent to his more recognized production. Cruz-Diez’s chief aim as an artist is the liberation of colour, a process undertaken with the motivation of being part of art history, in an avant-garde quest for what his original contribution to art could be. Transition, interaction, colour, space and time: these are the crucial concepts of the work of Cruz-Diez investigated in this thesis and positioned in the Latin American/European and Kinetic/Optical context. Today, Cruz-Diez’s works from his first Physichromie (1959) onwards have been extensively explored both by him in numerous commentaries and by scholars. In contrast, only few works of the 1950s have been displayed and discussed. The key aspect of my argument is that 1959 is not an abrupt beginning to Cruz-Diez’s work but the conclusive stage of a ten-year process of transition from figuration to abstraction. I demonstrate that there is indeed a drawn-out “passage” made of readings and experiments, of “successes” and" “failures”. I argue that this “passage” is articulated along three parallel paths: 1) the detachment from naturalistic or figurative representation; 2) the detachment from the concept of colour as a synonym of pigment on a support; and 3) the shift in emphasis from a “passive” to an “active” spectator.The eighteenth century furniture trade in Edinburgh : a study based on documentary sourcesPryke, Sebastianhttps://hdl.handle.net/10023/113392019-03-28T15:17:57Z1995-01-01T00:00:00Z“The existing work is easy to summarise; despite the ever present nature of furniture in people's lives, and its obvious position in a social context as a reflection of taste, wealth and progress, the study in Scotland of the trade which made it, and the furniture itself, has until recently been sadly neglected.” -- From the Preface.
“This thesis is intended to hang flesh on the bones of Francis Bamford's
‘Dictionary of Edinburgh Wrights’, rather than to be a counterpart to Pat Kirkham's
study of the London trade¹². Whereas in Glasgow 'no rich vein of documentation has
revealed the existence of a dominant city manufacturer comparable with Trotter of
Edinburgh, whose furniture and business activities can be traced back into the
eighteenth century¹³', in Edinburgh rich veins do exist. They have been used not only
to illuminate the careers of individuals but also to explore the great range of services
which these individuals offered. The editorial of the 1992 volume of ‘Regional
Furniture’ states that 'some work on Norwich, Chester, Doncaster, Lancaster and
Glasgow is in print, but coverage is patchy'. That Edinburgh had such a clearly
vibrant trade will hopefully be of encouragement to historians of all major British
cities, even those that did not benefit from the privileges of a capital city, or bask in
the reflected glow of the Enlightenment.” – From the Introduction.
1995-01-01T00:00:00ZPryke, Sebastian“The existing work is easy to summarise; despite the ever present nature of furniture in people's lives, and its obvious position in a social context as a reflection of taste, wealth and progress, the study in Scotland of the trade which made it, and the furniture itself, has until recently been sadly neglected.” -- From the Preface.
“This thesis is intended to hang flesh on the bones of Francis Bamford's
‘Dictionary of Edinburgh Wrights’, rather than to be a counterpart to Pat Kirkham's
study of the London trade¹². Whereas in Glasgow 'no rich vein of documentation has
revealed the existence of a dominant city manufacturer comparable with Trotter of
Edinburgh, whose furniture and business activities can be traced back into the
eighteenth century¹³', in Edinburgh rich veins do exist. They have been used not only
to illuminate the careers of individuals but also to explore the great range of services
which these individuals offered. The editorial of the 1992 volume of ‘Regional
Furniture’ states that 'some work on Norwich, Chester, Doncaster, Lancaster and
Glasgow is in print, but coverage is patchy'. That Edinburgh had such a clearly
vibrant trade will hopefully be of encouragement to historians of all major British
cities, even those that did not benefit from the privileges of a capital city, or bask in
the reflected glow of the Enlightenment.” – From the Introduction.Memorials of endurance and adventure : exhibiting British polar exploration, 1819 – c.1939Murray, Katiehttps://hdl.handle.net/10023/110872020-06-16T02:03:51Z2017-06-22T00:00:00ZOver eighty polar-themed exhibitions were held in Britain between 1819 and the 1930s, a time of intense exploration of both the Arctic and Antarctic. These varied from panoramas and human exhibits to displays of ‘relics’, equipment, photographs and artwork, waxworks and displays shown as part of a Great Exhibition. This period also saw the creation of the first dedicated polar museums. These displays were visited by thousands of people throughout the country, helping to mediate the subject of exploration for a public audience.
Despite this, the role exhibitions played in forming popular views of the polar regions has not been fully assessed. This thesis addresses this gap. It is the first to consider all the polar exhibitions held during this period as a collective body, making it possible to study how they developed over time and in response to changing circumstances.
The thesis uses a variety of archival sources to both reconstruct the displays and place them in their historical and museological contexts. The study shows that exhibitions evolved in response to changes both in the museum sector and in exploration culture. It demonstrates that, while they were originally identified with the shows of the entertainment industry, polar exhibitions began to take on more of the characteristics of museum displays. At the same time their dominant themes changed; the natural world was relegated in favour of ideas relating to the human experience of the regions such as heroism, adventure and everyday life in an exotic environment. While other media may have been more effective in disseminating ideas about exploration, visitors could find the experience of visiting an exhibition more compelling. This thesis contributes to our understanding of this distinct role that exhibitions played in presenting the polar regions to the British public.
Electronic version excludes material for which permission has not been granted by the rights holder
2017-06-22T00:00:00ZMurray, KatieOver eighty polar-themed exhibitions were held in Britain between 1819 and the 1930s, a time of intense exploration of both the Arctic and Antarctic. These varied from panoramas and human exhibits to displays of ‘relics’, equipment, photographs and artwork, waxworks and displays shown as part of a Great Exhibition. This period also saw the creation of the first dedicated polar museums. These displays were visited by thousands of people throughout the country, helping to mediate the subject of exploration for a public audience.
Despite this, the role exhibitions played in forming popular views of the polar regions has not been fully assessed. This thesis addresses this gap. It is the first to consider all the polar exhibitions held during this period as a collective body, making it possible to study how they developed over time and in response to changing circumstances.
The thesis uses a variety of archival sources to both reconstruct the displays and place them in their historical and museological contexts. The study shows that exhibitions evolved in response to changes both in the museum sector and in exploration culture. It demonstrates that, while they were originally identified with the shows of the entertainment industry, polar exhibitions began to take on more of the characteristics of museum displays. At the same time their dominant themes changed; the natural world was relegated in favour of ideas relating to the human experience of the regions such as heroism, adventure and everyday life in an exotic environment. While other media may have been more effective in disseminating ideas about exploration, visitors could find the experience of visiting an exhibition more compelling. This thesis contributes to our understanding of this distinct role that exhibitions played in presenting the polar regions to the British public.The sublime in Rothko, Newman and StillMcMahon, Cliff Gettyhttps://hdl.handle.net/10023/110022019-03-28T15:18:33Z1998-01-01T00:00:00ZAn important body of literature has accumulated (both primary and secondary sources) which necessitates that Rothko, Newman and Still be placed in the tradition of the sublime. In attempting this task, a background is established by a detailed summary of classical theory of the sublime in Longinus, Burke, Kant, and Nietzsche, followed by detailed summaries of major recent sublimist theory by Weiskel, Crowther, Lyotard, and Ferguson. Also, key ideas of Sartre and Jung are treated in order to round out the proper ideational context for a sublimicist analysis of these three painters. From this foundation, a working theory of the sublime is developed. Next, the painters’ crucial theoretic statement are analysed for their relevance to the sublime, and their programs and specific works are characterized in relation to theory of the sublime, and in relation to their treatments in criticism.
The last two chapters treat two crucial contexts in which Rothko, Newman and Still are situated: The historically accumulated American tradition of the sublime in art and literature; and the general European context of modernism and postmodernism. Throughout the study, it is argued that various kinds of transcendence validate a set of various major modes of the sublime: The ideational, religious, moral, Burkean-Gothic, Kantian, Nietzschean, romantic, existential, Jungian-mythic, ontological, noble, and the sublime of light/color, along with negatives modes such as the comic, the ironic, the counter, the mock, and the merely rhetorical. It is argued, finally, that sublimicism will continue to be attractive for conservative, moderate, and radical points of view, that theory of the sublime has on-going power and validity into the future, and that between positive and negative modes, the positive will probably continue to dominate
1998-01-01T00:00:00ZMcMahon, Cliff GettyAn important body of literature has accumulated (both primary and secondary sources) which necessitates that Rothko, Newman and Still be placed in the tradition of the sublime. In attempting this task, a background is established by a detailed summary of classical theory of the sublime in Longinus, Burke, Kant, and Nietzsche, followed by detailed summaries of major recent sublimist theory by Weiskel, Crowther, Lyotard, and Ferguson. Also, key ideas of Sartre and Jung are treated in order to round out the proper ideational context for a sublimicist analysis of these three painters. From this foundation, a working theory of the sublime is developed. Next, the painters’ crucial theoretic statement are analysed for their relevance to the sublime, and their programs and specific works are characterized in relation to theory of the sublime, and in relation to their treatments in criticism.
The last two chapters treat two crucial contexts in which Rothko, Newman and Still are situated: The historically accumulated American tradition of the sublime in art and literature; and the general European context of modernism and postmodernism. Throughout the study, it is argued that various kinds of transcendence validate a set of various major modes of the sublime: The ideational, religious, moral, Burkean-Gothic, Kantian, Nietzschean, romantic, existential, Jungian-mythic, ontological, noble, and the sublime of light/color, along with negatives modes such as the comic, the ironic, the counter, the mock, and the merely rhetorical. It is argued, finally, that sublimicism will continue to be attractive for conservative, moderate, and radical points of view, that theory of the sublime has on-going power and validity into the future, and that between positive and negative modes, the positive will probably continue to dominateThe life and work of Sir Robert Rowand Anderson, 1834-1921McKinstry, Samhttps://hdl.handle.net/10023/110012019-03-28T15:17:59Z1987-01-01T00:00:00ZSir Robert Rowand Anderson was the dominant figure in Scottish
architecture during and beyond the late Victorian period. Although
his oeuvre is for the most part well known, and notwithstanding the
fact that the historical drawings from his office were made available
for study in 1979, his life and work have not hitherto bean
investigated in depth. The purpose of the thesis which follows is
to make good this deficiency.
While the absence of family papers has posed problems ever since
Anderson's death, (evident from the biographical errors in his
obituaries), a large number of primary sources were discovered in the
course of research. These included Anderson's scrapbook, notebooks
and a diary, correspondence relating to his earlier commissions, and
numerous letters in public and private collections. In the last
few years, several short but helpful publications on specific aspects
of his work have also appeared.
Drawing on this material, the thesis presents a chronological
account of Anderson's career dealing, in Chapter One, with his hitherto
uninvestigated early life and training. Chapter Two seta the scene
for the evolution of his theoretical position, not previously
examined. Chapters Three and Four deal with the expansion of his
practice and his rise to eminence, while Chapters Five, Six and Seven
cover his activities at the height of his fame, such as his restorations,
and his committee and educational work. The Appendices include
Obituaries and notes on the sources of his architectural theory, as
well as a list of works and a quantification of his influence.
The thesis makes it clear that the popular view of Anderson
as a highly professional and gifted manipulator of historical
styles is inadequate: he was a thoroughgoing functionalist.
It also draws attention to the great influence he exerted on the
generation immediately following, not only through his conservative
restoration and the high quality of his design, but also by
actively fostering a Scottish tradition in architecture and its
associated crafts.
1987-01-01T00:00:00ZMcKinstry, SamSir Robert Rowand Anderson was the dominant figure in Scottish
architecture during and beyond the late Victorian period. Although
his oeuvre is for the most part well known, and notwithstanding the
fact that the historical drawings from his office were made available
for study in 1979, his life and work have not hitherto bean
investigated in depth. The purpose of the thesis which follows is
to make good this deficiency.
While the absence of family papers has posed problems ever since
Anderson's death, (evident from the biographical errors in his
obituaries), a large number of primary sources were discovered in the
course of research. These included Anderson's scrapbook, notebooks
and a diary, correspondence relating to his earlier commissions, and
numerous letters in public and private collections. In the last
few years, several short but helpful publications on specific aspects
of his work have also appeared.
Drawing on this material, the thesis presents a chronological
account of Anderson's career dealing, in Chapter One, with his hitherto
uninvestigated early life and training. Chapter Two seta the scene
for the evolution of his theoretical position, not previously
examined. Chapters Three and Four deal with the expansion of his
practice and his rise to eminence, while Chapters Five, Six and Seven
cover his activities at the height of his fame, such as his restorations,
and his committee and educational work. The Appendices include
Obituaries and notes on the sources of his architectural theory, as
well as a list of works and a quantification of his influence.
The thesis makes it clear that the popular view of Anderson
as a highly professional and gifted manipulator of historical
styles is inadequate: he was a thoroughgoing functionalist.
It also draws attention to the great influence he exerted on the
generation immediately following, not only through his conservative
restoration and the high quality of his design, but also by
actively fostering a Scottish tradition in architecture and its
associated crafts.Paintings by numbers : applications of bivariate correlation and descriptive statistics to Russian avant-garde artworkStrugnell, James Paulhttps://hdl.handle.net/10023/107222023-03-21T12:40:12Z2017-06-22T00:00:00ZIn this thesis artwork is defined, through analogy with quantum mechanics, as the conjoining of the nonsimultaneously measurable momentum (waves) of artwork-text (words within the primary sources and exhibition catalogues) with the position (particles) of artwork-objects (artist- productivity/exhibition-quantities). Such a proposition allows for the changes within the artwork of the Russian avant-garde to be charted, as such artwork-objects are juxtaposed with different artwork-texts from 1902 to 2009.
The artwork of an initial period from 1902 to 1934 is examined using primary-source artwork-text produced by Russian artists and critics in relation to the contemporaneous production-levels of various types of Russian-avant-garde artwork-objects. The primary sources in this dataset are those reproduced in the artwork-text produced by the 62 exhibitions described below, and those published in John E. Bowlt’s 1991 edition of Russian Art of the Avant-Garde: Theory and Criticism. The production of artwork in the latter period from 1935 to 2009 is examined through consecutive exhibitions, and the relationship between the artwork-text produced by these exhibitions and the artwork-objects exhibited at them. The exhibitions examined within this thesis are 62 containing Russian avant-garde artwork, held in Britain from 1935 to 2009.
Content analysis, using an indices-and-symptom analytical construct, functions to convert the textual, unstructured data of the artwork-text words to numerical, structured data of recording-unit weighted percentages. Whilst artist-productivity and exhibition-quantities of types of artwork-object convert the individual artwork-objects to structured data. Bivariate correlation, descriptive statistics, graphs and charts are used to define and compare relationships between: The recording units of the artwork-texts; the artist-productivity/ exhibition-quantities of types of artwork-objects; the structured artwork-text data and structured artwork-object data.
These various correlations between structured artwork-text data and structured artwork-object data are calculated in relationship to time (Years) to chart the changes within these relationships. The changes within these relationships are synonymous with changes within Russian avant-garde artwork as presented from 1902 to 1934 and within the 62 British exhibitions from 1935 to 2009. Bivariate correlations between structured artwork-texts data and structured artwork-objects data express numerically (quantitatively) the ineffable relationships formed over time by large sets of unstructured data in the continued (re)creation of artwork.
2017-06-22T00:00:00ZStrugnell, James PaulIn this thesis artwork is defined, through analogy with quantum mechanics, as the conjoining of the nonsimultaneously measurable momentum (waves) of artwork-text (words within the primary sources and exhibition catalogues) with the position (particles) of artwork-objects (artist- productivity/exhibition-quantities). Such a proposition allows for the changes within the artwork of the Russian avant-garde to be charted, as such artwork-objects are juxtaposed with different artwork-texts from 1902 to 2009.
The artwork of an initial period from 1902 to 1934 is examined using primary-source artwork-text produced by Russian artists and critics in relation to the contemporaneous production-levels of various types of Russian-avant-garde artwork-objects. The primary sources in this dataset are those reproduced in the artwork-text produced by the 62 exhibitions described below, and those published in John E. Bowlt’s 1991 edition of Russian Art of the Avant-Garde: Theory and Criticism. The production of artwork in the latter period from 1935 to 2009 is examined through consecutive exhibitions, and the relationship between the artwork-text produced by these exhibitions and the artwork-objects exhibited at them. The exhibitions examined within this thesis are 62 containing Russian avant-garde artwork, held in Britain from 1935 to 2009.
Content analysis, using an indices-and-symptom analytical construct, functions to convert the textual, unstructured data of the artwork-text words to numerical, structured data of recording-unit weighted percentages. Whilst artist-productivity and exhibition-quantities of types of artwork-object convert the individual artwork-objects to structured data. Bivariate correlation, descriptive statistics, graphs and charts are used to define and compare relationships between: The recording units of the artwork-texts; the artist-productivity/ exhibition-quantities of types of artwork-objects; the structured artwork-text data and structured artwork-object data.
These various correlations between structured artwork-text data and structured artwork-object data are calculated in relationship to time (Years) to chart the changes within these relationships. The changes within these relationships are synonymous with changes within Russian avant-garde artwork as presented from 1902 to 1934 and within the 62 British exhibitions from 1935 to 2009. Bivariate correlations between structured artwork-texts data and structured artwork-objects data express numerically (quantitatively) the ineffable relationships formed over time by large sets of unstructured data in the continued (re)creation of artwork.Robert S. Lorimer : interiors and furniture designShen, Lindsayhttps://hdl.handle.net/10023/103932019-03-28T15:16:40Z1994-01-01T00:00:00ZChapter 1, entitled "The Scottish Tradition",
builds on the early twentieth-century consensus that
Lorimer had resuscitated a moribund Scottish tradition
of design. While critics have examined the Scottish
roots of Lorimer's architecture, the native sources of
his furniture design have received little corresponding
attention. This section aims to demonstrate the ways
in which Lorimer's interest in historical Scottish
architecture and woodwork informed his interior and
furniture design. In particular, his use of vernacular
and regional forms is juxtaposed with the revival of
traditional types and motifs he shared with
contemporary designers.
Complementing a concern with indigenous design is
Lorimer's interest in continental antique furniture.
Lorimer's personal collection, and those of his
clients, may be identified as formative in the
development of his design. Chapter 2 examines the main
sources, against the social background of Scottish
furniture and interior design during the period. The
circumstances of the commissions discussed here reveal
Lorimer's combination of the roles of architect and
interior designer, the focus of Chapter 3 on Lorimer's
wide-ranging activities at Balmanno Castle, Perthshire.
Chapter 4 seeks to redress the balance between
Lorimer as traditionalist and agent for reform,
particularly in the area of design education. It will
be argued that his own design innovations were
secondary to the latter achievement. His attitudes to
industrial design and handcraft are considered here,
which leads to the final chapter on workmanship. This
section is comprised of an in-depth study of Lorimer's
working relationship with the executants of his
designs; the variant use of handwork and machinework is
discussed, and finally some attempt is made to discern
and acknowledge the peculiar contributions of designer
and workmen.
1994-01-01T00:00:00ZShen, LindsayChapter 1, entitled "The Scottish Tradition",
builds on the early twentieth-century consensus that
Lorimer had resuscitated a moribund Scottish tradition
of design. While critics have examined the Scottish
roots of Lorimer's architecture, the native sources of
his furniture design have received little corresponding
attention. This section aims to demonstrate the ways
in which Lorimer's interest in historical Scottish
architecture and woodwork informed his interior and
furniture design. In particular, his use of vernacular
and regional forms is juxtaposed with the revival of
traditional types and motifs he shared with
contemporary designers.
Complementing a concern with indigenous design is
Lorimer's interest in continental antique furniture.
Lorimer's personal collection, and those of his
clients, may be identified as formative in the
development of his design. Chapter 2 examines the main
sources, against the social background of Scottish
furniture and interior design during the period. The
circumstances of the commissions discussed here reveal
Lorimer's combination of the roles of architect and
interior designer, the focus of Chapter 3 on Lorimer's
wide-ranging activities at Balmanno Castle, Perthshire.
Chapter 4 seeks to redress the balance between
Lorimer as traditionalist and agent for reform,
particularly in the area of design education. It will
be argued that his own design innovations were
secondary to the latter achievement. His attitudes to
industrial design and handcraft are considered here,
which leads to the final chapter on workmanship. This
section is comprised of an in-depth study of Lorimer's
working relationship with the executants of his
designs; the variant use of handwork and machinework is
discussed, and finally some attempt is made to discern
and acknowledge the peculiar contributions of designer
and workmen.The iconography of St John the Baptist in medieval England, c. 1300-1550Kaper, Annamiekehttps://hdl.handle.net/10023/97912019-03-28T15:16:28Z2016-12-01T00:00:00ZThis thesis shows the importance of St John the Baptist in medieval England, especially
in relation to the veneration of him through imagery. Noticeably absent from modern
academic work, St John was a highly important saint in the church of the later Middle
Ages. Focusing primarily on imagery from the years 1300 to 1550, or the late medieval
period, I examine a collection of works of art which best highlight the devotional,
didactic and intercessory roles that St John played in the lives of the medieval people.
This thesis is broken down into two main chapters. Firstly, the ‘historic’ St John the
Baptist is examined. A collection of documentary sources is used to form a context
within which images of St John were viewed in the later Middle Ages. Scriptural and
patristic sources help to illustrate the early history of the saint, while hagiographic
sources further expanded upon the narratives. Liturgical, devotional and medieval
documentary sources help us to understand the devotional feelings and practices of the
people towards the saint. The second chapter focuses on the iconographical
representation of the Baptist in English imagery of the later Middle Ages. Broken down
by medium, I examine the representations of the Baptist in manuscript illuminations,
monumental paintings, stained glass, sculpture, metalwork and textiles.
2016-12-01T00:00:00ZKaper, AnnamiekeThis thesis shows the importance of St John the Baptist in medieval England, especially
in relation to the veneration of him through imagery. Noticeably absent from modern
academic work, St John was a highly important saint in the church of the later Middle
Ages. Focusing primarily on imagery from the years 1300 to 1550, or the late medieval
period, I examine a collection of works of art which best highlight the devotional,
didactic and intercessory roles that St John played in the lives of the medieval people.
This thesis is broken down into two main chapters. Firstly, the ‘historic’ St John the
Baptist is examined. A collection of documentary sources is used to form a context
within which images of St John were viewed in the later Middle Ages. Scriptural and
patristic sources help to illustrate the early history of the saint, while hagiographic
sources further expanded upon the narratives. Liturgical, devotional and medieval
documentary sources help us to understand the devotional feelings and practices of the
people towards the saint. The second chapter focuses on the iconographical
representation of the Baptist in English imagery of the later Middle Ages. Broken down
by medium, I examine the representations of the Baptist in manuscript illuminations,
monumental paintings, stained glass, sculpture, metalwork and textiles.Artists, patrons and the power of association : the emergence of a bourgeois artistic field in Edinburgh, c.1775-c.1840Forbes, Duncanhttps://hdl.handle.net/10023/95662019-03-28T15:16:57Z1997-06-01T00:00:00ZThe period 1775 - 1840 witnessed a dramatic transformation in
the size and complexity of the Edinburgh art world, with the
rituals associated with fine art consumption emerging from the
closed circles of the elite connoisseur and taking on new
meanings in the more open and contested spaces of the urban
public sphere. Expanding regimes of artistic exchange and
consumption accelerated rapidly during the course of the 1820s,
as the city's fine arts became more deeply embedded in British
and Continental markets. For a growing audience of wealthy
professional bourgeoisie and lesser gentry, the ownership of
painting became the requisite component of refined urban
living.
However, this expansion -- dominated by the resale
exchange of 'old' masters -- was not automatically a boon to
contemporary artists. In a highly stratified artistic sphere
many found the struggle for subsistence unequal. An early
protective association, the Society of Artists, foundered on
the rocks of its members' competing interests, and the
formation of the Scottish Academy in 1826 was also riven by
debilitating disputes between different groups of artists and
their patrons. During a period of acute political turmoil, the
press exploited these divisions for political gain, and disagreements
over modes of patronage were easily represented in
terms of the passions of party feeling.
It was only in the wake of the Reform Act, and the
remodelling of Edinburgh's body politic, that the 'problem' of
the public emerged as a central concern of elite patronage.
Members of the stumbling Scottish Academy joined with leading
civic figures to found the first Edinburgh art union. Its
successful harnessing of a largely middle-class public not only
secured the financial prospects of the city's leading artists,
but also offered civic elites a clearly defined pathway to
social power and recognition. The cultural authority accruing
to the fine arts allowed its managers to develop a self-interested
'governmental' agenda. However, the art union's
dominance of the urban arts did not pass uncontested, and a
counter organisation was formed to challenge its patrician
management style. These disputes, combined with earlier
confrontations, expose the complex array of competing interests
that structured Edinburgh's emergent artistic field during the
early decades of the nineteenth century.
1997-06-01T00:00:00ZForbes, DuncanThe period 1775 - 1840 witnessed a dramatic transformation in
the size and complexity of the Edinburgh art world, with the
rituals associated with fine art consumption emerging from the
closed circles of the elite connoisseur and taking on new
meanings in the more open and contested spaces of the urban
public sphere. Expanding regimes of artistic exchange and
consumption accelerated rapidly during the course of the 1820s,
as the city's fine arts became more deeply embedded in British
and Continental markets. For a growing audience of wealthy
professional bourgeoisie and lesser gentry, the ownership of
painting became the requisite component of refined urban
living.
However, this expansion -- dominated by the resale
exchange of 'old' masters -- was not automatically a boon to
contemporary artists. In a highly stratified artistic sphere
many found the struggle for subsistence unequal. An early
protective association, the Society of Artists, foundered on
the rocks of its members' competing interests, and the
formation of the Scottish Academy in 1826 was also riven by
debilitating disputes between different groups of artists and
their patrons. During a period of acute political turmoil, the
press exploited these divisions for political gain, and disagreements
over modes of patronage were easily represented in
terms of the passions of party feeling.
It was only in the wake of the Reform Act, and the
remodelling of Edinburgh's body politic, that the 'problem' of
the public emerged as a central concern of elite patronage.
Members of the stumbling Scottish Academy joined with leading
civic figures to found the first Edinburgh art union. Its
successful harnessing of a largely middle-class public not only
secured the financial prospects of the city's leading artists,
but also offered civic elites a clearly defined pathway to
social power and recognition. The cultural authority accruing
to the fine arts allowed its managers to develop a self-interested
'governmental' agenda. However, the art union's
dominance of the urban arts did not pass uncontested, and a
counter organisation was formed to challenge its patrician
management style. These disputes, combined with earlier
confrontations, expose the complex array of competing interests
that structured Edinburgh's emergent artistic field during the
early decades of the nineteenth century.The depiction of St. John the Baptist's legend in Florence, 1300-1500Chen, Yi-Peihttps://hdl.handle.net/10023/86402019-03-28T15:16:53Z1999-01-01T00:00:00ZThis thesis focuses on the portrayal of St. John the Baptist in Florence during the
fourteenth and fifteenth centuries. The first chapter is devoted to the examination of
the Baptist's legend as outlined in the Bible and apocryphal texts in order to draw a
picture of the saint's legend as the Florentines of the Renaissance would have
understood it. The interest in the image of the Baptist stemmed from his position as
patron saint of the city. As a result of this state of affairs, a discussion of the origins
of the city's adoption of the saint is essential to our understanding of his importance
in Florence. This analysis together with a description of the Festival of the Baptist
celebrated in the city, forms the background to a fuller understanding of the works of
art under discussion.
The examination of Florentine works of art dealing with the Baptist's life
concentrates on eight full pictorial cycles. These comprise four projects for the
Florentine Baptistery (the mosaic programme in the Baptistery; Andrea Pisano's
bronze doors; the Silver Altar; a set of embroidery vestments), a state-commissioned
altarpiece by Giovanni del Biondo, and three privately commissioned cycles (frescoes
in the chapels of the Peruzzi, the Castellani, and the Tornabuoni families). The
examination of these works focuses initially on the textual sources which may have
inspired the work of art itself, and the influence of different patrons on the portrayal
of the saint. The significance of the cultural and social data reflected by these works
are what this thesis aims to draw attention to.
1999-01-01T00:00:00ZChen, Yi-PeiThis thesis focuses on the portrayal of St. John the Baptist in Florence during the
fourteenth and fifteenth centuries. The first chapter is devoted to the examination of
the Baptist's legend as outlined in the Bible and apocryphal texts in order to draw a
picture of the saint's legend as the Florentines of the Renaissance would have
understood it. The interest in the image of the Baptist stemmed from his position as
patron saint of the city. As a result of this state of affairs, a discussion of the origins
of the city's adoption of the saint is essential to our understanding of his importance
in Florence. This analysis together with a description of the Festival of the Baptist
celebrated in the city, forms the background to a fuller understanding of the works of
art under discussion.
The examination of Florentine works of art dealing with the Baptist's life
concentrates on eight full pictorial cycles. These comprise four projects for the
Florentine Baptistery (the mosaic programme in the Baptistery; Andrea Pisano's
bronze doors; the Silver Altar; a set of embroidery vestments), a state-commissioned
altarpiece by Giovanni del Biondo, and three privately commissioned cycles (frescoes
in the chapels of the Peruzzi, the Castellani, and the Tornabuoni families). The
examination of these works focuses initially on the textual sources which may have
inspired the work of art itself, and the influence of different patrons on the portrayal
of the saint. The significance of the cultural and social data reflected by these works
are what this thesis aims to draw attention to.The transformation of Northumberland House : interior decoration and furniture for the Third Duke of Northumberland by Nicholas Morel and Robert HughesBaxter, Clare E.https://hdl.handle.net/10023/85052019-03-28T15:16:47Z2000-01-01T00:00:00ZThis thesis introduces the characters of the Third Duke and Duchess of Northumberland, who commissioned much work from Nicholas Morel and Robert Hughes for Northumberland
House between 1822-1825. It then reviews works by Morel and Hughes between 1805 and
1822, their fashionable business, and the association with the Prince of Wales which
influenced this commission.
A summary of the building history of Northumberland House explains its state as inherited by
the Third Duke in 1817. External works and related internal restructuring aimed to create a
property reflecting the Duke's wealth and elevated social status whilst retaining earlier
alterations. The suite of state apartments on the newly-modified south side of the house, for
which Morel and Hughes designed furniture and furnishings, is described with reference to
works of contemporary craftsmen, Thomas Grundy, William Croggon, William Collins,
Robert Jones and Thomas Ponsonby.
Analysis follows of accounts for furniture supplied by Morel and Hughes between 1822 and
1825. Each room and its furniture, often with exact locations, is described. This, combined
with interior photographs circa 1874, helps create a picture of Regency splendour. The
Morel and Hughes commission is examined, highlighting the importance of textiles in
Regency England, with sections on wall hangings, window curtains and draperies, upholstery
and passementerie and floor coverings.
In 1826 Morel left the partnership, joining George Seddon. Robert Hughes, however,
continued to work for the Third Duke until 1842 and examination of his accounts reveals
seasonal work opening and closing Northumberland House and the supply of some new
furniture. Analysis is made of major commissions by the Third Duke and Duchess in 1827
and 1832 of Hughes for work at Syon House.
Reference is made throughout to items of furniture and textiles surviving in the collection of
the Duke of Northumberland, and a detailed illustrated catalogue concludes.
2000-01-01T00:00:00ZBaxter, Clare E.This thesis introduces the characters of the Third Duke and Duchess of Northumberland, who commissioned much work from Nicholas Morel and Robert Hughes for Northumberland
House between 1822-1825. It then reviews works by Morel and Hughes between 1805 and
1822, their fashionable business, and the association with the Prince of Wales which
influenced this commission.
A summary of the building history of Northumberland House explains its state as inherited by
the Third Duke in 1817. External works and related internal restructuring aimed to create a
property reflecting the Duke's wealth and elevated social status whilst retaining earlier
alterations. The suite of state apartments on the newly-modified south side of the house, for
which Morel and Hughes designed furniture and furnishings, is described with reference to
works of contemporary craftsmen, Thomas Grundy, William Croggon, William Collins,
Robert Jones and Thomas Ponsonby.
Analysis follows of accounts for furniture supplied by Morel and Hughes between 1822 and
1825. Each room and its furniture, often with exact locations, is described. This, combined
with interior photographs circa 1874, helps create a picture of Regency splendour. The
Morel and Hughes commission is examined, highlighting the importance of textiles in
Regency England, with sections on wall hangings, window curtains and draperies, upholstery
and passementerie and floor coverings.
In 1826 Morel left the partnership, joining George Seddon. Robert Hughes, however,
continued to work for the Third Duke until 1842 and examination of his accounts reveals
seasonal work opening and closing Northumberland House and the supply of some new
furniture. Analysis is made of major commissions by the Third Duke and Duchess in 1827
and 1832 of Hughes for work at Syon House.
Reference is made throughout to items of furniture and textiles surviving in the collection of
the Duke of Northumberland, and a detailed illustrated catalogue concludes.Hildegard of Bingen and the creation of the Rupertsburg 'Scivias' : power is in the eye of the beholderCesarz, Kathryn A.https://hdl.handle.net/10023/83762019-03-28T15:16:33Z2005-03-01T00:00:00Z2005-03-01T00:00:00ZCesarz, Kathryn A.Italy and Cyprus : cross-currents in visual culture (thirteenth and fourteenth centuries)Andronikou, Anthi A.https://hdl.handle.net/10023/78612023-10-12T11:42:05Z2015-11-30T00:00:00ZThis thesis sets out to probe the complex artistic contacts between Italy and Cyprus in the visual arts during the High and Late Middle Ages. The Introduction provides a critical review of the subject. Chapter I maps out the various types of links (with respect to trade, religion, warfare, art, culture) between Italy and Cyprus in the thirteenth and fourteenth centuries. Chapters II and III examine the multifaceted artistic negotiations between southern Italy (mainly Apulia) and Cyprus in the thirteenth century, by closely examining a cluster of frescoes and panel paintings. Through a set of historical, cultural and artistic (stylistic and iconographic) approaches, these chapters aim to supersede the somewhat limited style-oriented analyses of previous contributions to this area of study. The hitherto unverified and convoluted relations between the two regions are revisited and affirmed within a new conceptual framework. Chapters IV and V investigate fourteenth-century cross-currents as seen in two cases that have formerly occupied a marginal position in discussions of intercultural exchanges between Italy and Cyprus. The first is the transplantation and manifestation of the cult of Saint Thomas Aquinas in Cyprus, and the second, the hybrid series of icons created by Italian painters working on the island. Both cases are appraised as a record of historical realities and not as the by-products of casual encounters. The thesis historicises these contacts and in doing so, contributes to a broader understanding of cultural transmission and convergence in the Medieval Mediterranean.
2015-11-30T00:00:00ZAndronikou, Anthi A.This thesis sets out to probe the complex artistic contacts between Italy and Cyprus in the visual arts during the High and Late Middle Ages. The Introduction provides a critical review of the subject. Chapter I maps out the various types of links (with respect to trade, religion, warfare, art, culture) between Italy and Cyprus in the thirteenth and fourteenth centuries. Chapters II and III examine the multifaceted artistic negotiations between southern Italy (mainly Apulia) and Cyprus in the thirteenth century, by closely examining a cluster of frescoes and panel paintings. Through a set of historical, cultural and artistic (stylistic and iconographic) approaches, these chapters aim to supersede the somewhat limited style-oriented analyses of previous contributions to this area of study. The hitherto unverified and convoluted relations between the two regions are revisited and affirmed within a new conceptual framework. Chapters IV and V investigate fourteenth-century cross-currents as seen in two cases that have formerly occupied a marginal position in discussions of intercultural exchanges between Italy and Cyprus. The first is the transplantation and manifestation of the cult of Saint Thomas Aquinas in Cyprus, and the second, the hybrid series of icons created by Italian painters working on the island. Both cases are appraised as a record of historical realities and not as the by-products of casual encounters. The thesis historicises these contacts and in doing so, contributes to a broader understanding of cultural transmission and convergence in the Medieval Mediterranean.Aspects of identity in the work of Douglas Strachan (1875-1950)MacDonald, Juliettehttps://hdl.handle.net/10023/73572019-03-28T15:16:44Z2003-01-01T00:00:00ZThis thesis explores facets of Scottish identity via the decorative work of Douglas Strachan. Nations and nationalism remain extraordinarily potent phenomena in the contemporary world and this work seeks to examine aspects of Scottish nationhood and cultural identity through Strachan's evocation of history, folklore, religion and myth. It has been argued that these are the chief catalysts for enabling people to define and shape their understanding of themselves and their place within society. Cultural identity is often understood as a passive form of nationalism which is remote from its political counterpart. Yet there are strong arguments to counter this belief. This thesis addresses some of the issues raised by such arguments and adopts an ethno-symbolic approach in order to re-evaluate Strachan's work, and that of his contemporaries. The thesis also develops the theoretical and contextual debates concerning the decorative arts in general and stained glass in particular in order to raise awareness of its merits and its role within our society.
2003-01-01T00:00:00ZMacDonald, JulietteThis thesis explores facets of Scottish identity via the decorative work of Douglas Strachan. Nations and nationalism remain extraordinarily potent phenomena in the contemporary world and this work seeks to examine aspects of Scottish nationhood and cultural identity through Strachan's evocation of history, folklore, religion and myth. It has been argued that these are the chief catalysts for enabling people to define and shape their understanding of themselves and their place within society. Cultural identity is often understood as a passive form of nationalism which is remote from its political counterpart. Yet there are strong arguments to counter this belief. This thesis addresses some of the issues raised by such arguments and adopts an ethno-symbolic approach in order to re-evaluate Strachan's work, and that of his contemporaries. The thesis also develops the theoretical and contextual debates concerning the decorative arts in general and stained glass in particular in order to raise awareness of its merits and its role within our society.Eclectic and neo-national aspects of Romanian art and design, 1878-1930Lowe, Shonahttps://hdl.handle.net/10023/72992019-03-28T15:17:38Z2001-01-01T00:00:00ZAccording to the words chiselled into its foundation stone in 1875, Castle Peles, the
summer residence of King Carol I, was intended to represent the 'cradle' of the newly
arrived Hohenzollern-Sigmaringen dynasty in Romania. Its construction coincided
with the formation of the modern Romanian state and embodied a similar striving
towards a convincing visual language of self-justification and definition. Initially
employing international vocabularies, this language turned increasingly to possible
'national' sources of expression.
This thesis examines the relationship between international influence and
notions of a 'national style' in Romanian art at the turn of the twentieth century. It
concentrates on a number of salient, but little studied factors in the search to define
the multi-layered cultural identity of the newly formed kingdom. Firstly, it explores
the artistic activity of the royal family. King Carol's 'transplanting' of weighty
German tradition is contrasted with the British-born Crown Princess Marie's
imaginative rejection of eclectic historicism and romantic reinvention of Arts and
Crafts, Art Nouveau and 'primitive' sources. Artistic links with Vienna, Munich,
Bohemia, Britain, Paris and Darmstadt, together with the significant contributions of
individuals like the British designer Mackay Hugh BailIie Scott, the Czech architect
Karel Liman and the Viennese Kiinstlerkompanie of Gustav and Ernst Klimt and
Franz Matsch, are highlighted.
Royal projects are examined against the backdrop of the emerging national
style debate in the Romanian arts as a whole. Attempts to express Romanian identity
in both the fine and applied arts are compared and evaluated. Particular attention is
paid to the role of national and international exhibitions, together with the forum for
artistic discussion provided by independent societies like Ileana and Artistic Youth.
The thesis concludes with a comparison of public and private royal responses to neo-
national ideas: firstly, in the grandiose monuments constructed for the Coronation of
Ferdinand and Marie as King and Queen of Greater Romania in 1922 and, secondly,
in the series of unusual country retreats created by Marie in the 1920s.
2001-01-01T00:00:00ZLowe, ShonaAccording to the words chiselled into its foundation stone in 1875, Castle Peles, the
summer residence of King Carol I, was intended to represent the 'cradle' of the newly
arrived Hohenzollern-Sigmaringen dynasty in Romania. Its construction coincided
with the formation of the modern Romanian state and embodied a similar striving
towards a convincing visual language of self-justification and definition. Initially
employing international vocabularies, this language turned increasingly to possible
'national' sources of expression.
This thesis examines the relationship between international influence and
notions of a 'national style' in Romanian art at the turn of the twentieth century. It
concentrates on a number of salient, but little studied factors in the search to define
the multi-layered cultural identity of the newly formed kingdom. Firstly, it explores
the artistic activity of the royal family. King Carol's 'transplanting' of weighty
German tradition is contrasted with the British-born Crown Princess Marie's
imaginative rejection of eclectic historicism and romantic reinvention of Arts and
Crafts, Art Nouveau and 'primitive' sources. Artistic links with Vienna, Munich,
Bohemia, Britain, Paris and Darmstadt, together with the significant contributions of
individuals like the British designer Mackay Hugh BailIie Scott, the Czech architect
Karel Liman and the Viennese Kiinstlerkompanie of Gustav and Ernst Klimt and
Franz Matsch, are highlighted.
Royal projects are examined against the backdrop of the emerging national
style debate in the Romanian arts as a whole. Attempts to express Romanian identity
in both the fine and applied arts are compared and evaluated. Particular attention is
paid to the role of national and international exhibitions, together with the forum for
artistic discussion provided by independent societies like Ileana and Artistic Youth.
The thesis concludes with a comparison of public and private royal responses to neo-
national ideas: firstly, in the grandiose monuments constructed for the Coronation of
Ferdinand and Marie as King and Queen of Greater Romania in 1922 and, secondly,
in the series of unusual country retreats created by Marie in the 1920s.The influence of African sculpture on British art, 1910-1930Dogbe, Buckner Komlahttps://hdl.handle.net/10023/71182019-03-28T15:18:07Z1989-01-01T00:00:00ZThis thesis aims to discuss the influence of African wood sculpture
on British art from 1910 to 1930. It proposes that the works, tastes and
pronouncements of various 20th century British artists betray this
influence and that although the British artists did not initially
understand the conceptual foundations of African sculpture their limited
knowledge was just sufficient for the modernization of British art
through the adaptation of the formal qualities of African art.
In assessing the validity of these propositions the thesis examines
the factors and issues that facilitated the influence. Chapter 1
discusses the formal qualities of African wood sculpture that attracted
the British artists. It outlines the unusual figural proportions, the
free and direct use of planar, linear and solid geometry, the treatment
of material and its surfaces.
The conceptual foundations of African sculpture are generally
outlined in Chapter 2. The extent to which the British artists
understood these foundations is also discussed.
Chapter 3 concerns the introduction of African sculpture to Britain
and discusses the development of the anthropological and subsequent
aesthetic interest that it aroused. Both the Post-Impressionist
Exhibitions and the Omega Workshops which facilitated its influence are
examined. Chapter 4 examines the concept and attempts to categorize the
nature of this influence.
The last three chapters act as case studies in which the impact of
African sculpture on Epstein, Gaudier-Brzeska and Henry Moore is
examined. The conclusion discusses the term 'Primitive' and the British
artists and the 'Primitive'
1989-01-01T00:00:00ZDogbe, Buckner KomlaThis thesis aims to discuss the influence of African wood sculpture
on British art from 1910 to 1930. It proposes that the works, tastes and
pronouncements of various 20th century British artists betray this
influence and that although the British artists did not initially
understand the conceptual foundations of African sculpture their limited
knowledge was just sufficient for the modernization of British art
through the adaptation of the formal qualities of African art.
In assessing the validity of these propositions the thesis examines
the factors and issues that facilitated the influence. Chapter 1
discusses the formal qualities of African wood sculpture that attracted
the British artists. It outlines the unusual figural proportions, the
free and direct use of planar, linear and solid geometry, the treatment
of material and its surfaces.
The conceptual foundations of African sculpture are generally
outlined in Chapter 2. The extent to which the British artists
understood these foundations is also discussed.
Chapter 3 concerns the introduction of African sculpture to Britain
and discusses the development of the anthropological and subsequent
aesthetic interest that it aroused. Both the Post-Impressionist
Exhibitions and the Omega Workshops which facilitated its influence are
examined. Chapter 4 examines the concept and attempts to categorize the
nature of this influence.
The last three chapters act as case studies in which the impact of
African sculpture on Epstein, Gaudier-Brzeska and Henry Moore is
examined. The conclusion discusses the term 'Primitive' and the British
artists and the 'Primitive'Reading in the painted letter : human heads in twelfth-century English initialsThompson, Jennifer A.https://hdl.handle.net/10023/65022019-07-01T10:17:49Z2000-10-01T00:00:00ZThe thesis examines eight twelfth-century English manuscripts with inhabited initials
occupied by human heads. Such initials, also filled with foliage, struggling humans and
animals, are a pronounced feature of English Romanesque manuscript illumination.
Appearing after the Norman Conquest in manuscripts produced for ecclesiastical
communities as part of the Anglo-Norman emphasis on theological reading, inhabited
initials with human heads are the work of monastic and professional artists. An image
encountered by a monk or a canon while engaged in meditative reading known as the
lectio divina, the head assumes many delightful, evocative and inventive forms in
order to attract the attention of the ruminating reader. The thesis analyses the
application of a human head to an initial and sets initials into a framework of monastic reading in order to suggest ways in which audiences might have read these letters. Exploring the interaction between human heads and their surrounding texts, the thesis examines how inhabited initials function within selected twelfth-century English manuscripts. While some initials have been designed by the artist to hold specific meaning in relation to the text, others allow the reader to invest them with his own meaning. By creating a dialogue with the text that complements the reading process, the human heads in twelfth-century English initials may be regarded as text markers.
2000-10-01T00:00:00ZThompson, Jennifer A.The thesis examines eight twelfth-century English manuscripts with inhabited initials
occupied by human heads. Such initials, also filled with foliage, struggling humans and
animals, are a pronounced feature of English Romanesque manuscript illumination.
Appearing after the Norman Conquest in manuscripts produced for ecclesiastical
communities as part of the Anglo-Norman emphasis on theological reading, inhabited
initials with human heads are the work of monastic and professional artists. An image
encountered by a monk or a canon while engaged in meditative reading known as the
lectio divina, the head assumes many delightful, evocative and inventive forms in
order to attract the attention of the ruminating reader. The thesis analyses the
application of a human head to an initial and sets initials into a framework of monastic reading in order to suggest ways in which audiences might have read these letters. Exploring the interaction between human heads and their surrounding texts, the thesis examines how inhabited initials function within selected twelfth-century English manuscripts. While some initials have been designed by the artist to hold specific meaning in relation to the text, others allow the reader to invest them with his own meaning. By creating a dialogue with the text that complements the reading process, the human heads in twelfth-century English initials may be regarded as text markers.Rural nostalgia : painting in Scotland c.1860-1880Morrison, Johnhttps://hdl.handle.net/10023/64812019-03-28T15:17:22Z1989-06-01T00:00:00ZA work of "rural nostalgia" is a distorted image of a past, or passing rural existence produced in the period c.1860-1880. It is distorted in such a way as to heighten the emotional impact of the work and to emphasize the inherent moral message carried by the painting. This message is always the same. In precisely the same terms as contemporary commentators, the painters lauded those aspects of human existence thought to be essential for a humane civilised society and felt to be being destroyed by the urbanisation of man. Hence family life, the home and community life were praised. Along with individual human relationships, society's provision of both temporal and religious education were seen as vital. These linked factors, so prevalent in rural life. were thus also frequently portrayed, praised and give an implicitly rural setting.
The ambivalent response to their industrial society of mid-Victorian Scots. themselves engaged in commerce and industry, found expression in the work of artists such as G.P. Chalmers and George Reid. In effect the collectors of rural nostalgia. convinced of the educative role of art, sought to promote a more responsible, caring, society through their purchasing and subsequent lending out of rural nostalgia paintings.
The paintings themselves. though heavily imbued with the spirit of contemporary Calvinist Scotland, were philosophically influenced by John Ruskin and by French "Realist" writing and criticism. They were practically influenced by nineteenth century Dutch painting.
The significance of the painters of rural nostalgia lies not in their formal innovations, though they were technically of considerable importance to the later "Glasgow School", it lies in the alternative view they afford of the motivations and concerns of the patrons and practitioners of painting in Scotland in the third quarter of the nineteenth century.
1989-06-01T00:00:00ZMorrison, JohnA work of "rural nostalgia" is a distorted image of a past, or passing rural existence produced in the period c.1860-1880. It is distorted in such a way as to heighten the emotional impact of the work and to emphasize the inherent moral message carried by the painting. This message is always the same. In precisely the same terms as contemporary commentators, the painters lauded those aspects of human existence thought to be essential for a humane civilised society and felt to be being destroyed by the urbanisation of man. Hence family life, the home and community life were praised. Along with individual human relationships, society's provision of both temporal and religious education were seen as vital. These linked factors, so prevalent in rural life. were thus also frequently portrayed, praised and give an implicitly rural setting.
The ambivalent response to their industrial society of mid-Victorian Scots. themselves engaged in commerce and industry, found expression in the work of artists such as G.P. Chalmers and George Reid. In effect the collectors of rural nostalgia. convinced of the educative role of art, sought to promote a more responsible, caring, society through their purchasing and subsequent lending out of rural nostalgia paintings.
The paintings themselves. though heavily imbued with the spirit of contemporary Calvinist Scotland, were philosophically influenced by John Ruskin and by French "Realist" writing and criticism. They were practically influenced by nineteenth century Dutch painting.
The significance of the painters of rural nostalgia lies not in their formal innovations, though they were technically of considerable importance to the later "Glasgow School", it lies in the alternative view they afford of the motivations and concerns of the patrons and practitioners of painting in Scotland in the third quarter of the nineteenth century.Art and identity : a social psychological study of stereotypical beliefs about women artists and women’s art and the discursive identities of arts professionals and promoters of women’s artDunnett, Anne S.W.L.https://hdl.handle.net/10023/64472019-07-01T10:12:59Z1998-10-01T00:00:00ZThe thesis is a social psychological study of beliefs about women artists and women's art. It is argued that the work of women artists is systematically undervalued in society and it is also argued that people's beliefs about women artists, and their attitudes towards women's art, are stereotypical. People are shown to have stereotyped beliefs about women artists and it is argued that stereotypes comprise the cognitive component of people's attitudes towards women's art. An argument is then presented that the origins of stereotypes can be found in social identity and personal identity. The conclusion is drawn that
people's social identities and personal identities influence their views on women
artists and their attitudes towards women's art, as represented by the stereotypical
belief component of those attitudes. The results of an analytic survey are then
presented in support of this claim. The survey findings show that two social
identity factors, feminism and gender, and one personal identity factor, sex-role
categorisation, influence people's beliefs about women artists and women's art. Having established that people's views on women artists and their work are stereotypical, the thesis then moves on to consider what effect this has on the sense of self of a group of arts professionals. An argument is presented that, in order to accomplish this task, it is necessary to replace survey methodology with discourse analysis techniques. Analyses are then presented of a set of interviews with arts professionals and those involved in promoting women's art. The results of these analyses show that the subjects are able to employ discursive accounts in order to preserve a positive sense of identity in the face of possible challenges to their sense of self In the final chapter, some concluding comments are offered on the advantages associated with adopting a mixed-methodology approach of this
kind.
1998-10-01T00:00:00ZDunnett, Anne S.W.L.The thesis is a social psychological study of beliefs about women artists and women's art. It is argued that the work of women artists is systematically undervalued in society and it is also argued that people's beliefs about women artists, and their attitudes towards women's art, are stereotypical. People are shown to have stereotyped beliefs about women artists and it is argued that stereotypes comprise the cognitive component of people's attitudes towards women's art. An argument is then presented that the origins of stereotypes can be found in social identity and personal identity. The conclusion is drawn that
people's social identities and personal identities influence their views on women
artists and their attitudes towards women's art, as represented by the stereotypical
belief component of those attitudes. The results of an analytic survey are then
presented in support of this claim. The survey findings show that two social
identity factors, feminism and gender, and one personal identity factor, sex-role
categorisation, influence people's beliefs about women artists and women's art. Having established that people's views on women artists and their work are stereotypical, the thesis then moves on to consider what effect this has on the sense of self of a group of arts professionals. An argument is presented that, in order to accomplish this task, it is necessary to replace survey methodology with discourse analysis techniques. Analyses are then presented of a set of interviews with arts professionals and those involved in promoting women's art. The results of these analyses show that the subjects are able to employ discursive accounts in order to preserve a positive sense of identity in the face of possible challenges to their sense of self In the final chapter, some concluding comments are offered on the advantages associated with adopting a mixed-methodology approach of this
kind.Arthur Melville and Presbyterian realismBrickley, Christopher M.https://hdl.handle.net/10023/64242019-07-01T10:04:27Z1996-01-01T00:00:00ZThis thesis explores the significance of 'Presbyterian Realism' in the context of Scottish painting in the last quarter of the nineteenth century, with particular reference to the early development of Arthur Melville.
Melville travelled in Egypt and Persia in 1881-'82, reflecting the contemporary taste for Eastern subjects at the Salon and Royal Academy exhibitions. However Melville's reactions to Islam contrasted directly
with his peers, whose choice and treatment of contentious themes reveal the mentality of the imperialist male bourgeoisie. Melville's redefinition of Orientalism can be attributed to the particular social, religious, moral and ethical codes he had absorbed during his formative years, a
conditioning which ensured that his patrons and the governing elite in Scotland were in sympathy with his approach. The unity of discourse between these indigenous codes and the aesthetic of Melville's protomodernism'
is also examined.
Melville emerged from the Scottish landscape and genre school towards 'proto-modernism', where his more radical stylistic and optical advances were reconciled against traditional themes. He was one of the first modern Scottish artists to live and work in Paris, and the reasons for the reluctant assimilation of the industrialised urban environment into his art are discussed in the context of his Scottish peers and contemporary French movements.
1996-01-01T00:00:00ZBrickley, Christopher M.This thesis explores the significance of 'Presbyterian Realism' in the context of Scottish painting in the last quarter of the nineteenth century, with particular reference to the early development of Arthur Melville.
Melville travelled in Egypt and Persia in 1881-'82, reflecting the contemporary taste for Eastern subjects at the Salon and Royal Academy exhibitions. However Melville's reactions to Islam contrasted directly
with his peers, whose choice and treatment of contentious themes reveal the mentality of the imperialist male bourgeoisie. Melville's redefinition of Orientalism can be attributed to the particular social, religious, moral and ethical codes he had absorbed during his formative years, a
conditioning which ensured that his patrons and the governing elite in Scotland were in sympathy with his approach. The unity of discourse between these indigenous codes and the aesthetic of Melville's protomodernism'
is also examined.
Melville emerged from the Scottish landscape and genre school towards 'proto-modernism', where his more radical stylistic and optical advances were reconciled against traditional themes. He was one of the first modern Scottish artists to live and work in Paris, and the reasons for the reluctant assimilation of the industrialised urban environment into his art are discussed in the context of his Scottish peers and contemporary French movements.Museum communication : learning, interaction and experienceNielsen, Jane K.https://hdl.handle.net/10023/57702019-07-01T10:14:13Z2014-12-01T00:00:00Z'Museum Communication: Learning, Interaction and Experience' is a study of how museums have evolved and handled their communication approaches at both theoretical and practical levels. It discusses questions like; how has museum communication developed? What influences do these developments have on museology and its related disciplines? How will museum communication develop in the future? These are questions closely connected with essential concepts of learning, interaction, participation and experience, which will be discussed throughout the thesis. Learning and exhibition theories will be considered alongside discussions of epistemological and philosophical approaches, interpretation, and social development of museological research. The research forms a discourse analysis of museums’ own views and opinions of these issues through replies of a questionnaire. It also focuses on specific case studies and examples in order to combine theoretical definitions and empirical approaches with museological developments. To form a deeper understanding of how museological communication is developing, the research includes interviews with professionals of philosophy and storytelling as well. Finally, the approaches are summarised in a new museum model developed from future studies. This model, called 'The Transformative Museum', identifies essential points in which museums have developed their communication practices and theories, and discusses how these may develop in the future. As the responsibilities of museum curators develop, museums have to embrace the concepts of transformation and flexibility too. Inquiries, research, learning and participation have to be transformed into all kinds of experiences in order to respond to changing needs and flexible structures of communities and societies. The transformative museum will have to acknowledge past traditions, current trends and future opportunities simultaneously in order to become a museum of both present and future relevance for all kinds of visitors and users.
2014-12-01T00:00:00ZNielsen, Jane K.'Museum Communication: Learning, Interaction and Experience' is a study of how museums have evolved and handled their communication approaches at both theoretical and practical levels. It discusses questions like; how has museum communication developed? What influences do these developments have on museology and its related disciplines? How will museum communication develop in the future? These are questions closely connected with essential concepts of learning, interaction, participation and experience, which will be discussed throughout the thesis. Learning and exhibition theories will be considered alongside discussions of epistemological and philosophical approaches, interpretation, and social development of museological research. The research forms a discourse analysis of museums’ own views and opinions of these issues through replies of a questionnaire. It also focuses on specific case studies and examples in order to combine theoretical definitions and empirical approaches with museological developments. To form a deeper understanding of how museological communication is developing, the research includes interviews with professionals of philosophy and storytelling as well. Finally, the approaches are summarised in a new museum model developed from future studies. This model, called 'The Transformative Museum', identifies essential points in which museums have developed their communication practices and theories, and discusses how these may develop in the future. As the responsibilities of museum curators develop, museums have to embrace the concepts of transformation and flexibility too. Inquiries, research, learning and participation have to be transformed into all kinds of experiences in order to respond to changing needs and flexible structures of communities and societies. The transformative museum will have to acknowledge past traditions, current trends and future opportunities simultaneously in order to become a museum of both present and future relevance for all kinds of visitors and users.'Sons of Crispin' : the St Crispin societies of Edinburgh and ScotlandMarwick, Sandra M.https://hdl.handle.net/10023/41952020-11-17T03:00:53Z2013-11-29T00:00:00ZCity of Edinburgh Museums and Galleries hold a substantial collection of artefacts and record books donated in 1909 by the office bearers of the Royal Ancient Order of St Crispin. This organisation was the final reincarnation of the Royal St Crispin Society established around 1817. From 1932 the display of a selection of these objects erroneously attributed their provenance to the Incorporation of Cordiners of Canongate with no interpretation of the meaning and use of this regalia.
The association of shoemakers (cordiners in Scotland) with St Crispin their patron saint remained such that at least until the early twentieth century a shoemaker was popularly called a ‘Crispin’ and collectively ‘sons of Crispin’. In medieval Scotland cordiners maintained altars to St Crispin and his brother St Crispianus and their cult can be traced to France in the sixth century. In the late sixteenth century an English rewriting of the legend achieved immediate popularity and St Crispin’s Day continued to be remembered in England throughout the seventeenth century. Journeymen shoemakers in Scotland in the early eighteenth century commemorated their patron with processions; and the appellation ‘St Crispin Society’ appeared in 1763.
This thesis investigates the longevity of the shoemakers’ attachment to St Crispin prior to the nineteenth century and analyses the origin, creation, organisation, development and demise of the Royal St Crispin Society and the network of lodges it created in Scotland in the period 1817-1909. Although showing the influence of freemasonry, the Royal St Crispin Society devised and practised rituals based on shoemaking legends and traditions. An interpretation of these rituals is given as well as an examination of the celebration of the saint’s day and the organisation and significance of King Crispin processions. The interconnection of St Crispin artefacts and archival material held by Scottish museums and archives is demonstrated throughout the thesis.
2013-11-29T00:00:00ZMarwick, Sandra M.City of Edinburgh Museums and Galleries hold a substantial collection of artefacts and record books donated in 1909 by the office bearers of the Royal Ancient Order of St Crispin. This organisation was the final reincarnation of the Royal St Crispin Society established around 1817. From 1932 the display of a selection of these objects erroneously attributed their provenance to the Incorporation of Cordiners of Canongate with no interpretation of the meaning and use of this regalia.
The association of shoemakers (cordiners in Scotland) with St Crispin their patron saint remained such that at least until the early twentieth century a shoemaker was popularly called a ‘Crispin’ and collectively ‘sons of Crispin’. In medieval Scotland cordiners maintained altars to St Crispin and his brother St Crispianus and their cult can be traced to France in the sixth century. In the late sixteenth century an English rewriting of the legend achieved immediate popularity and St Crispin’s Day continued to be remembered in England throughout the seventeenth century. Journeymen shoemakers in Scotland in the early eighteenth century commemorated their patron with processions; and the appellation ‘St Crispin Society’ appeared in 1763.
This thesis investigates the longevity of the shoemakers’ attachment to St Crispin prior to the nineteenth century and analyses the origin, creation, organisation, development and demise of the Royal St Crispin Society and the network of lodges it created in Scotland in the period 1817-1909. Although showing the influence of freemasonry, the Royal St Crispin Society devised and practised rituals based on shoemaking legends and traditions. An interpretation of these rituals is given as well as an examination of the celebration of the saint’s day and the organisation and significance of King Crispin processions. The interconnection of St Crispin artefacts and archival material held by Scottish museums and archives is demonstrated throughout the thesis.The 'Blue Rose' movement and Russian symbolist paintingBowlt, John E.https://hdl.handle.net/10023/37032019-07-01T10:11:03Z1972-01-01T00:00:00ZThe object of this essay is two-fold: firstly, to present an examination of the "Blue Rose" group of artists in the context of Russian Symbolism and secondly, to indicate its importance to the evolution of modern Russian painting. It was felt that while the development of the Russian visual arts of the period 1910-1930 had been studied in some detail, especially by Western scholars over the last few years, the preceding decade was still an obscure and confused field of research: the total absence of any adequate appraisal of the "Blue Rose" movement either in Russia or in the West and my own conviction that this movement warranted particular attention as a vital link between Russian Realism and the so-called avant-garde acted as the prime motives for the completion of this work.
In order to justify this assertion I have attempted to consider the emergence of the "Blue Rose" group as part of an organic, indigenous process and to relate it to the achievements of Russian art of the late 19th century. Since the work of the "Blue Rose" group is unknown to Western observers, certain paintings of leading members -Kuznetsov, Sapunov, Sar'yan, Sudeikin--have been analysed in detail; in the case of less active members - Arapov, Peofilaktov,Utkin – a more cursory examination has been presented; since this essay is concerned with the development of easel painting above all, the output of Bromirsky and Matveev (the two sculptors of the group) has been given only marginal consideration.
Throughout the text the name, "Blue Rose " has been used to denote that group of sixteen artists who exhibited at the single exhibition of that name in March, 1907. Although the name was used for the first time only at that exhibition, I have applied it in this essay to the group and to individual artists throughout their Symbolist period, i.e. c.1904-1908. The text of this work is based largely on material studied in Moscow between 1966; and 1968. Although original "Blue Rose", paintings are very rare, some examples were found both in public and in private collections: in this respect, access to the store-rooms of the Tret'yakov Gallery, Moscow and the Russian Museum, Leningrad facilitated my task. Published material concerning the genesis and development of the "Blue Rose” group amounts to very little and, therefore, I had to rely heavily on private archives and personal reminiscences of contemporaries as well as on more general sources such as the Symbolist journals and memoirs: in this respect, of particular value were the manuscript of Arapov's autobiography, the diaries and documents of P. Kuznetsov, the unpublished guide to the reserves of the Tret'yakov Gallery and the oral collections of the late V. M. Lobanov; W. Nouvel's unpublished monograph on Diaghilev provided me with useful material in my study of the "World of Art”. In addition, relevant written material was found and consulted in the Lenin Library, Moscow, the Tret'yakov Gallery Library, Moscow, the Pushkin Museum of Fine Arts, Moscow, the Central State Archives of Literature and Art, Moscow, the Saltykov-Shchedrin Library, Leningrad, the Russian Museum Library, Leningrad; in the West extensive use was made of the facilities of the British Museum, the Victoria and Albert Museum, the Library of the School of Slavonic and East European Studies at the University of London, the Library, of Congress, the New-York Public Library and the Widener Library, Harvard.
Because of the complete absence of Russian exhibition catalogues of the Symbolist period in the West, and of their rarity in Russia, detailed listings have been made where relevant to the text. In the case of the “Crimson Rose" and "Blue Rose" exhibitions the participators and their contributions are listed in full in Appendices I and III; this is because only one copy of the former is known to exist (in the library of the Leningrad Academy of Fine Arts) and only two copies of the latter have been located. In these instances and in those of the "Golden Fleece" exhibitions the original Russian has been retained in order to avoid that constant confusion which translation and retranslation of picture titles has caused in the West. The illustrations are from pictures in Russian public and private collections and, in some cases, where the original has been lost or has not been traced—from reproductions in contemporaneous books and journals. The system of transliteration is that used by the journal, Soviet Studies (published by the Institute of Soviet and East European Studies, Glasgow), although where a variant has been established already this has been used, e. g. Diaghilev (not Dyagilev), Jawlensky (not Yavlensky).
1972-01-01T00:00:00ZBowlt, John E.The object of this essay is two-fold: firstly, to present an examination of the "Blue Rose" group of artists in the context of Russian Symbolism and secondly, to indicate its importance to the evolution of modern Russian painting. It was felt that while the development of the Russian visual arts of the period 1910-1930 had been studied in some detail, especially by Western scholars over the last few years, the preceding decade was still an obscure and confused field of research: the total absence of any adequate appraisal of the "Blue Rose" movement either in Russia or in the West and my own conviction that this movement warranted particular attention as a vital link between Russian Realism and the so-called avant-garde acted as the prime motives for the completion of this work.
In order to justify this assertion I have attempted to consider the emergence of the "Blue Rose" group as part of an organic, indigenous process and to relate it to the achievements of Russian art of the late 19th century. Since the work of the "Blue Rose" group is unknown to Western observers, certain paintings of leading members -Kuznetsov, Sapunov, Sar'yan, Sudeikin--have been analysed in detail; in the case of less active members - Arapov, Peofilaktov,Utkin – a more cursory examination has been presented; since this essay is concerned with the development of easel painting above all, the output of Bromirsky and Matveev (the two sculptors of the group) has been given only marginal consideration.
Throughout the text the name, "Blue Rose " has been used to denote that group of sixteen artists who exhibited at the single exhibition of that name in March, 1907. Although the name was used for the first time only at that exhibition, I have applied it in this essay to the group and to individual artists throughout their Symbolist period, i.e. c.1904-1908. The text of this work is based largely on material studied in Moscow between 1966; and 1968. Although original "Blue Rose", paintings are very rare, some examples were found both in public and in private collections: in this respect, access to the store-rooms of the Tret'yakov Gallery, Moscow and the Russian Museum, Leningrad facilitated my task. Published material concerning the genesis and development of the "Blue Rose” group amounts to very little and, therefore, I had to rely heavily on private archives and personal reminiscences of contemporaries as well as on more general sources such as the Symbolist journals and memoirs: in this respect, of particular value were the manuscript of Arapov's autobiography, the diaries and documents of P. Kuznetsov, the unpublished guide to the reserves of the Tret'yakov Gallery and the oral collections of the late V. M. Lobanov; W. Nouvel's unpublished monograph on Diaghilev provided me with useful material in my study of the "World of Art”. In addition, relevant written material was found and consulted in the Lenin Library, Moscow, the Tret'yakov Gallery Library, Moscow, the Pushkin Museum of Fine Arts, Moscow, the Central State Archives of Literature and Art, Moscow, the Saltykov-Shchedrin Library, Leningrad, the Russian Museum Library, Leningrad; in the West extensive use was made of the facilities of the British Museum, the Victoria and Albert Museum, the Library of the School of Slavonic and East European Studies at the University of London, the Library, of Congress, the New-York Public Library and the Widener Library, Harvard.
Because of the complete absence of Russian exhibition catalogues of the Symbolist period in the West, and of their rarity in Russia, detailed listings have been made where relevant to the text. In the case of the “Crimson Rose" and "Blue Rose" exhibitions the participators and their contributions are listed in full in Appendices I and III; this is because only one copy of the former is known to exist (in the library of the Leningrad Academy of Fine Arts) and only two copies of the latter have been located. In these instances and in those of the "Golden Fleece" exhibitions the original Russian has been retained in order to avoid that constant confusion which translation and retranslation of picture titles has caused in the West. The illustrations are from pictures in Russian public and private collections and, in some cases, where the original has been lost or has not been traced—from reproductions in contemporaneous books and journals. The system of transliteration is that used by the journal, Soviet Studies (published by the Institute of Soviet and East European Studies, Glasgow), although where a variant has been established already this has been used, e. g. Diaghilev (not Dyagilev), Jawlensky (not Yavlensky).Artistic patronage in late medieval Troyes, 1380-1520Wyant, Cody Jameshttps://hdl.handle.net/10023/35992020-02-29T03:02:54Z2012-01-01T00:00:00ZThis thesis explores the development of artistic patronage in the city of Troyes
between 1380 and 1520. It takes into consideration the patrons and artists involved in the creation of manuscript illumination, sculpture, metalwork, panel painting, stained glass, tapestry and textiles. As a localised study it draws source documentation from the Bibliothèque municipale, Archives de l’Aube and museum collections in Troyes. The theme of ‘patronage’ is the basis for examination of visual culture produced locally during the late middle ages. I acknowledge the drive behind patronage involved the notion of enhancement, whether individual or institutional, that required the need for visual display. The role of the artists was an integral part of the performative process that shaped the development of this system and fulfilled the cultural impulse toward the outward expression of devotion, power
and prestige. I argue that these works relate to the individual and community they represent as the product of a compound relationship between the process of art production and a movement toward visual display. In light of this it can be concluded that the manufacture of
art and impulse to produce and collect it had connections to the cultural, social and economic climate. The dissemination of patronage in the city denotes an increasing degree of organisation in the complexity of artistic practices at local level. This evidence therefore represents a microcosm of greater developments witnessed in late medieval France.
2012-01-01T00:00:00ZWyant, Cody JamesThis thesis explores the development of artistic patronage in the city of Troyes
between 1380 and 1520. It takes into consideration the patrons and artists involved in the creation of manuscript illumination, sculpture, metalwork, panel painting, stained glass, tapestry and textiles. As a localised study it draws source documentation from the Bibliothèque municipale, Archives de l’Aube and museum collections in Troyes. The theme of ‘patronage’ is the basis for examination of visual culture produced locally during the late middle ages. I acknowledge the drive behind patronage involved the notion of enhancement, whether individual or institutional, that required the need for visual display. The role of the artists was an integral part of the performative process that shaped the development of this system and fulfilled the cultural impulse toward the outward expression of devotion, power
and prestige. I argue that these works relate to the individual and community they represent as the product of a compound relationship between the process of art production and a movement toward visual display. In light of this it can be concluded that the manufacture of
art and impulse to produce and collect it had connections to the cultural, social and economic climate. The dissemination of patronage in the city denotes an increasing degree of organisation in the complexity of artistic practices at local level. This evidence therefore represents a microcosm of greater developments witnessed in late medieval France.Furnishing Britain : Gothic as a national aesthetic, 1740–1840Lindfield, Peter Nelsonhttps://hdl.handle.net/10023/34902019-07-01T10:11:40Z2012-09-01T00:00:00ZFurniture history is often considered a niche subject removed from the main discipline of art history, and one that has little to do with the output of painters, sculptors and architects. This thesis, however, connects the key intellectual, artistic and architectural debates surfacing in ‘the arts’ between 1740 and 1840 with the design of British furniture. Despite the expanding corpus of scholarly monographs and articles dealing with individual cabinet-makers, furniture making in geographic areas and periods of time, little attention has been paid to exploring Gothic furniture made between 1740 and 1840. Indeed, no body of research on ‘mainstream’ Gothic furniture made at this time has been published. No sustained attempt has been made to trace its stylistic evolution, establish stylistic phases, or to place this development within the context of contemporary architectural practice and historiography — except for the study of A.W.N. Pugin’s ‘Reformed Gothic’. Neither have furniture historians been willing to explore the aesthetic’s connection with the intellectual and sentimental position of ‘the Gothic’ in the period.
This thesis addresses these shortcomings and is the first to bridge the historiographic, cultural and architectural concerns of the time with the stylistic, constructional and material characteristics of Gothic furniture. It argues that it, like architecture, was charged with social and political meanings that included national identity in the eighteenth century — around a century before Charles Barry and A.W.N. Pugin designed the Palace of Westminster and prominently associated the Gothic legacy with Britishness.
Electronic version excludes material for which permission has not been granted by the rights holder
2012-09-01T00:00:00ZLindfield, Peter NelsonFurniture history is often considered a niche subject removed from the main discipline of art history, and one that has little to do with the output of painters, sculptors and architects. This thesis, however, connects the key intellectual, artistic and architectural debates surfacing in ‘the arts’ between 1740 and 1840 with the design of British furniture. Despite the expanding corpus of scholarly monographs and articles dealing with individual cabinet-makers, furniture making in geographic areas and periods of time, little attention has been paid to exploring Gothic furniture made between 1740 and 1840. Indeed, no body of research on ‘mainstream’ Gothic furniture made at this time has been published. No sustained attempt has been made to trace its stylistic evolution, establish stylistic phases, or to place this development within the context of contemporary architectural practice and historiography — except for the study of A.W.N. Pugin’s ‘Reformed Gothic’. Neither have furniture historians been willing to explore the aesthetic’s connection with the intellectual and sentimental position of ‘the Gothic’ in the period.
This thesis addresses these shortcomings and is the first to bridge the historiographic, cultural and architectural concerns of the time with the stylistic, constructional and material characteristics of Gothic furniture. It argues that it, like architecture, was charged with social and political meanings that included national identity in the eighteenth century — around a century before Charles Barry and A.W.N. Pugin designed the Palace of Westminster and prominently associated the Gothic legacy with Britishness.Class, consumption and currency : commercial photography in mid-Victorian ScotlandLaurence-Allen, Antoniahttps://hdl.handle.net/10023/34692022-08-01T08:55:11Z2012-11-30T00:00:00ZThis 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.
Electronic version excludes material for which permission has not been granted by the rights holder
2012-11-30T00:00:00ZLaurence-Allen, AntoniaThis 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.Paul Strand and Cesare Zavattini’s 'Un paese' (1955) : the art, synergy and politics of a photobookShannon, Elizabeth J.https://hdl.handle.net/10023/33312019-11-01T09:41:46Z2012-11-30T00:00:00Z"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.
2012-11-30T00:00:00ZShannon, 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.Graphic revolt! Scandinavian artists' workshops, 1968-1975 : Røde Mor, Folkets Ateljé and GRASGlomm, Anna Sandakerhttps://hdl.handle.net/10023/31712022-05-04T13:40:27Z2012-01-01T00:00:00ZThis thesis examines the relationship between the three artists’ workshops Røde Mor (Red Mother), Folkets Ateljé (The People’s Studio) and GRAS, who worked between 1968 and 1975 in Denmark, Sweden and Norway. Røde Mor was from the outset an articulated Communist graphic workshop loosely organised around collective exhibitions. It developed into a highly productive and professionalised group of artists that made posters by commission for political and social movements. Its artists developed a familiar and popular artistic language characterised by imaginative realism and socialist imagery. Folkets Ateljé, which has never been studied before, was a close knit underground group which created quick and immediate responses to concurrent political issues. This group was founded on the example of Atelier Populaire in France and is strongly related to its practices. Within this comparative study it is the group that comes closest to collective practises around 1968 outside Scandinavia, namely the democratic assembly. The silkscreen workshop GRAS stemmed from the idea of economic and artistic freedom, although socially motivated and politically involved, the group never implemented any doctrine for participation.
The aim of this transnational study is to reveal common denominators to the three groups’ poster art as it was produced in connection with a Scandinavian experience of 1968. By ‘1968’ it is meant the period from the late 1960s till the end of the 1970s. It examines the socio-political conditions under which the groups flourished and shows how these groups operated in conjunction with the political environment of 1968. The thesis explores the relationship between political movements and the collective art making process as it appeared in Scandinavia.
To present a comprehensible picture of the impact of 1968 on these groups, their artworks, manifestos, and activities outside of the collective space have been discussed. The argument has presented itself that even though these groups had very similar ideological stances, their posters and techniques differ. This has impacted the artists involved to different degrees, yet made it possible to express the same political goals. It is suggested to be linked with the Scandinavian social democracies and common experience of the radicalisation that took place mostly in the aftermath of 1968 proper. By comparing these three groups’ it has been uncovered that even with the same socio-political circumstances and ideological stance divergent styles did develop to embrace these issue.
2012-01-01T00:00:00ZGlomm, Anna SandakerThis 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.Jackson Pollock, 1930-1955 : the influence of the Old MastersRoncone, Natalie Mariahttps://hdl.handle.net/10023/30482019-04-26T16:58:31Z2011-11-30T00:00:00ZThe 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.
2011-11-30T00:00:00ZRoncone, Natalie MariaThe 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.Art, devotion and patronage at Santa Maria dei Carmini, Venice : with special reference to the 16th-Century altarpiecesHammond, Josephhttps://hdl.handle.net/10023/30472019-07-01T10:06:26Z2011-11-30T00:00:00ZThis 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.
2011-11-30T00:00:00ZHammond, JosephThis 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.William McTaggart : landscape, meaning and techniqueScruton, Davidhttps://hdl.handle.net/10023/29742019-03-28T15:16:55Z1991-01-01T00:00:00ZThis 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.
1991-01-01T00:00:00ZScruton, DavidThis 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.Cubo-Futurism in Russia, 1912-1922 : the transformation of a painterly styleHumphreys, Charlotte M.https://hdl.handle.net/10023/29462019-03-28T15:17:08Z1989-01-01T00:00:00ZCubo-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.
1989-01-01T00:00:00ZHumphreys, 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.Opus Anglicanum with particular reference to copes as liturgical show-pieces, ecclesiastical exemplars and Eucharistic exegetesLinnell, Christinehttps://hdl.handle.net/10023/29282019-03-28T15:18:16Z1995-01-01T00:00:00ZThis 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.
1995-01-01T00:00:00ZLinnell, ChristineThis 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.The sculptured altarpiece in Renaissance Venice, ca. 1460-1530Strupp, Joachimhttps://hdl.handle.net/10023/28062019-03-28T15:18:33Z1993-01-01T00:00:00ZThis 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.
1993-01-01T00:00:00ZStrupp, JoachimThis 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.Bonifacio's enterprise: Bonifacio de'Pitati and Venetian paintingCottrell, Philiphttps://hdl.handle.net/10023/27512020-02-20T11:59:28Z2001-01-01T00:00:00ZThis 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.
2001-01-01T00:00:00ZCottrell, PhilipThis 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.Paolo Veronese and his patronsHolt, Stephenhttps://hdl.handle.net/10023/27092019-03-28T15:18:31Z1991-01-01T00:00:00Z1991-01-01T00:00:00ZHolt, StephenInterpreting breast iconography in Italian art, 1250-1600Ashton, Anne M.https://hdl.handle.net/10023/26752019-07-01T10:07:23Z2006-01-01T00:00:00ZThe 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.
2006-01-01T00:00:00ZAshton, 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.The Vivarini workshop and its patrons, c.1430 - c.1450Holgate, Ian Richardhttps://hdl.handle.net/10023/26532019-07-01T10:10:11Z1999-01-01T00:00:00ZGiovanni 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.
1999-01-01T00:00:00ZHolgate, Ian RichardGiovanni 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.Developing African art : innovation and tradition seen through the work of two artists; Lamidi Fakeye and Ahmed ShibrainNour, A. I.https://hdl.handle.net/10023/26202019-03-28T15:18:24Z2006-01-01T00:00:00ZThe 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.
2006-01-01T00:00:00ZNour, 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.Museum accountability in Britain and America : ethical standards and fiscal transparency in the twenty-first centuryGroninger, Katherine R.https://hdl.handle.net/10023/25932020-11-17T03:08:17Z2011-11-30T00:00:00ZThis 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.
2011-11-30T00:00:00ZGroninger, 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.The Office of the Dead in England : image and music in the Book of Hours and related texts, c. 1250-c. 1500Schell, Sarahhttps://hdl.handle.net/10023/21072019-03-28T15:16:41Z2011-01-01T00:00:00ZThis study examines the illustrations that appear at the Office of the Dead in English Books
of Hours, and seeks to understand how text and image work together in this thriving culture of
commemoration to say something about how the English understood and thought about death in
the fourteenth and fifteenth centuries. The Office of the Dead would have been one of the most
familiar liturgical rituals in the medieval period, and was recited almost without ceasing at family
funerals, gild commemorations, yearly minds, and chantry chapel services. The Placebo and Dirige
were texts that many people knew through this constant exposure, and would have been more
widely known than other 'death' texts such as the Ars Moriendi. The images that are found in these
books reflect wider trends in the piety and devotional practice of the time. The first half of the
study discusses the images that appear in these horae, and the relationship between the text and
image is explored. The funeral or vigil scene, as the most commonly occurring, is discussed with
reference to contemporary funeral practices, and ways of reading a Book of Hours. Other
iconographic themes that appear in the Office of the Dead, such as the Roman de Renart, the Pety Job,
the Legend of the Three Living and the Three Dead, the story of Lazarus, and the life of Job, are also
discussed. The second part of the thesis investigates the musical elaborations of the Office of the
Dead as found in English prayer books. The Office of the Dead had a close relationship with music,
which is demonstrated through an examination of the popularity of musical funerals and obits, as
well as in the occurrence of musical notation for the Office in a book often used by the musically
illiterate. The development of the Office of the Dead in conjunction with the development of the
Books of Hours is also considered, and places the traditions and ideas that were part of the funeral
process in medieval England in a larger historical context.
2011-01-01T00:00:00ZSchell, SarahThis 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."Les Caravage de Philippe de Béthune"Fowler, Virginiahttps://hdl.handle.net/10023/19762018-05-18T15:55:00Z2010-01-01T00:00:00ZThis 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.
2010-01-01T00:00:00ZFowler, VirginiaThis 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.Walter Richard Sickert and the theatre c.1880-c.1940Rough, William W.https://hdl.handle.net/10023/19622019-09-19T02:03:44Z2010-01-01T00:00:00ZPrior 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.
Electronic version excludes material for which permission has not been granted by the rights holder
2010-01-01T00:00:00ZRough, 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.Prison or palace? Haven or hell? : an architectural and social study of the development of public lunatic asylums in Scotland, 1781-1930Darragh, Alisonhttps://hdl.handle.net/10023/17152020-02-20T11:59:34Z2011-01-01T00:00:00ZIn 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.
2011-01-01T00:00:00ZDarragh, AlisonIn 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.The lost Venetian church of Santa Maria Assunta dei Crociferi : form, decoration, and patronageSherman, Allison M.https://hdl.handle.net/10023/10212019-03-28T15:16:45Z2010-06-24T00:00:00ZThis 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.
Electronic version excludes images for which permission has not been granted by the rights holder
2010-06-24T00:00:00ZSherman, 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.The reception of Chinese painting in Britain, circa 1880-1920 : with special reference to Laurence BinyonHuang, Michelle Ying-Linghttps://hdl.handle.net/10023/10202022-08-01T10:40:56Z2010-06-24T00:00:00ZThe 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.
Electronic version excludes material for which permission has not been granted by the rights holder
2010-06-24T00:00:00ZHuang, Michelle Ying-LingThe 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.Treasures of the University : an examination of the identification, presentation and responses to artefacts of significance at the University of St Andrews, from 1410 to the mid-19th century; with an additional consideration of the development of the portrait collection to the early 21st centuryRawson, Helen C.https://hdl.handle.net/10023/9902019-03-28T15:17:58Z2010-06-24T00:00:00ZSince 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.
2010-06-24T00:00:00ZRawson, 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.Les yeux de la mémoire: the paintings of Maria Helena Vieira da Silva 1930-1946Halkias, Mariahttps://hdl.handle.net/10023/8352019-07-01T10:11:06Z2009-06-25T00:00:00ZThis 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.
Electronic version excludes material for which permission has not been granted by the rights holder
2009-06-25T00:00:00ZHalkias, MariaThis 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.Confronting nightmares : responding to iconoclasm in Western museums and art galleriesScott, Helen E.https://hdl.handle.net/10023/7882019-07-01T10:13:32Z2009-11-01T00:00:00ZIt 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.
Electronic version excludes material for which permission has not been granted by the rights holder
2009-11-01T00:00:00ZScott, 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.Comparative research into the museum governance systems of national museums in the UK and TaiwanTzeng, Shin-Chiehhttps://hdl.handle.net/10023/7682019-03-28T15:18:07Z2009-01-01T00:00:00ZThis 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.
2009-01-01T00:00:00ZTzeng, Shin-ChiehThis 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.Odoardo Fialetti (1573-c.1638): the interrelation of Venetian art and anatomy, and his importance in EnglandWalters, Laura M.https://hdl.handle.net/10023/7362019-03-28T15:16:45Z2009-01-01T00:00:00ZBolognese artist Odoardo Fialetti (1573 – c.1638) is a fascinating figure upon which curiously little work has been done. Though he is a rarely discussed pupil of Tintoretto, Fialetti’s oeuvre is vast (some 55 known paintings and approximately 450 prints) and incredibly diverse. His work encompasses religious subjects, portraits, books on drawing and sport, maps, and illustration for treatises on city defences, literary texts, and anatomy. His work was influential for several hundred years after his death, not only in Venice and northern Italy, but also in France where his designs were used as decoration on faïence produced at Nevers, and England, where his paintings were much admired at court. Fialetti’s close association with Sir Henry Wotton, and the careful copy of his drawing book made by Alexander Browne in the mid-seventeenth century, attest to his impact on the formation of an Italianate sensibility in the appreciation of the visual arts in Early Modern England. In the realm of science, Fialetti’s influence can be deduced from his drawings of curiously animated cadavers in detailed landscapes to those of future generations of anatomists and illustrators throughout Europe. Because of the diverse associations and projects throughout his career, the study of Fialetti is inherently interdisciplinary, encompassing the history of art, history of science and history of the Venetian book trade, as well as crossing geographical boundaries in linking Venetian art and English tastes of the late renaissance and early baroque. Through examination of his extant oeuvre, as well as discussion of lost work, I aim to recognise Fialetti’s status as an artist responding to contemporary artistic debates (disegno versus colorito), a changing cultural climate and the burgeoning importance of the printed medium.
2009-01-01T00:00:00ZWalters, 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.Antiquity through medieval eyes : the appropriation of antique art in the TrecentoKouneni, Garyfalliahttps://hdl.handle.net/10023/7272021-10-14T10:43:29Z2009-06-25T00:00:00ZThis 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.
2009-06-25T00:00:00ZKouneni, GaryfalliaThis 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.The brothel-without-walls : twentieth century photography and the presentation of prostitutionMaddox, Amandahttps://hdl.handle.net/10023/6942023-10-03T11:05:28Z2007-01-01T00:00:00ZThis 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.
2007-01-01T00:00:00ZMaddox, AmandaThis 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.A survey of the development and assessment of the influence of golf as a traditional sporting theme in the pre-1930 decoration of ceramicsMutch, Andrew C.https://hdl.handle.net/10023/6042019-07-01T10:05:26Z2008-01-01T00:00:00ZThis thesis investigates the history of golf ceramics from their origins in the mid-18th
century until ca. 1930. During this period the game of golf experienced enormous
popularity, developing into a globally successful sport. In the modern period golf has also
fostered a thriving trade for the collecting of golf memorabilia, surpassing that of any other
comparable sport. The thesis traces the development and spread of one form of golf
collectibles – golf ceramics – and considers both the relationship of the pottery industry to
the sport and the reasons behind the achievement of the genre.
The modern form of golf likely began in the 13th and 14th centuries as a short game played
within town walls. Under pressure from Burgh officials and Kirk ordinances, golfers
eventually moved to the linksland and developed the now characteristic long game. In 18th-
century Britain, elite golf clubs for gentlemen and noblemen sprang from existing sporting
societies such as the Royal Company of Archers. The first examples of golf pottery, a series
of 18th
- and early 19th
- century convivial and commemorative punch bowls, were
commissioned as a direct result of the growing competitive and social traditions of the early
golfing societies.
During the prosperous Victorian era, golf experienced a period of immense growth and
geographic expansion, particularly during the "boom" of 1890 to 1905. As golf spread
internationally, it became a game primarily for the leisure class, inspiring holiday and resort
destinations for the wealthy. Exclusive clubs grew at a rate that far surpassed the
availability of public golf, thereby changing the character of the game to one predominantly
practised by the rich. The game's growth inspired enterprising pottery manufacturers to
produce new and imaginative golf-themed pottery lines, pre-1930. Golf's burgeoning
popularity, combined with the affluence of its practitioners, created the ideal consumer
audience for decorative and non-utilitarian wares. Between 1895 and 1930, eighty-five or
more manufacturers were actively developing golf wares.
As the pottery industry recognized the potential of the golf market, inventive new lines were
developed that utilized original artwork from renowned illustrators of the era, such as
Charles Dana Gibson, Howard Chandler Christy, Palmer Cox, Mabel Lucie Attwell, and
Harrison Fisher. This commitment to quality golf imagery indicated that potteries placed
the game in a higher institutional priority than other traditional sporting themes, such as cricket, tennis, rugby, or football. Royal Doulton, for example, generated no fewer than
twenty ranges specifically for the golf market or adapted to meet the demands of its
expanding following. Doulton wares featured illustrative images produced by Gibson,
Charles Crombie, Henry Mayo Bateman, Will H. Bradley, and Barbara Vernon (Bailey).
Doulton’s commitment to prominent illustration reflected golf’s importance to the financial
good footing of the firm.
The substantial catalogue of historical golfing wares produced during the period of
examination experienced unparalleled success in secondary markets throughout the 20th
century. Prominent institutional and individual golf collections emerged, leading to the
formation of international golf collecting societies, and golf-specific museums and archives.
Interest in golf collectibles advanced to the level where golf became a stand-alone auction
speciality. In 2000 and 2001 alone, twenty-three major international golf sales were held.
Golf pottery values escalated commensurate with the increased notoriety, availability, and
competition.
Certainly, no other traditional sport can claim such an extensive collection of wares, or a
more enduring legacy in the worldwide ceramics and fine art pottery industry.
2008-01-01T00:00:00ZMutch, 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.Architectural expansion and redevelopment in St. Andrews, 1810-c1894Evetts, Robin Dennis Alexanderhttps://hdl.handle.net/10023/5282019-07-01T10:04:19Z1988-01-01T00:00:00ZThis 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.
1988-01-01T00:00:00ZEvetts, Robin Dennis AlexanderThis 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.'The nation's temple' : national museums and national identity, a comparative case studyEdwards, Juliethttps://hdl.handle.net/10023/5142019-07-01T10:17:21Z2005-01-01T00:00:00ZOne 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.
2005-01-01T00:00:00ZEdwards, JulietOne 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.The soft-focus lens and Anglo-American pictorialismYoung, William Russellhttps://hdl.handle.net/10023/5052019-07-01T10:19:14Z2008-06-01T00:00:00ZThe 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.
Electronic version excludes illustrations for which permission has not been granted by the rights holder
2008-06-01T00:00:00ZYoung, William RussellThe 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.Promoting the past, preserving the future : British university heritage collections and identity marketingKozak, Zenobiahttps://hdl.handle.net/10023/4082019-07-01T10:08:34Z2007-12-01T00:00:00ZCollections 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.
2007-12-01T00:00:00ZKozak, ZenobiaCollections 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.Words and deeds: national style versus modernity in Finnish architecture 1890-1916 : the writings and work of Vilho Penttilä and the architecture of financial institutionsAshby, Charlottehttps://hdl.handle.net/10023/3182019-07-01T10:04:56Z2007-03-01T00:00:00ZThis 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.
Electronic version excludes material for which permission has not been granted by the rights holder
2007-03-01T00:00:00ZAshby, CharlotteThis 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.