The art of the plasterer; an account of the decorative development of the craft, chiefly in England from the XVIth to the XVIIIth century,

"Errata et corrigenda" slip inserted.

Studies in the decorative art of Japan

The plates are included in the paging, each numbered as one page.

Art recreations : a guide to decorative art /

First edition 1860.

A treatise on the theory and practice of landscape gardening : adapted to North America, with a view to the improvement of country residences ; comprising historical notices and general principles of the art, directions for laying out gardens and arranging plantations, the description and cultivation of hardy trees, decorative accompaniments to the house and grounds, the formation of pieces of artificial water, flower gardens, etc. ; with remarks on rural architecture /

Signatures: [A][superscript 4] B[superscript 4](-B4), 2-62[superscript 4] 63[superscript 2](-632); 16 leaves of plates.

Historic ornament; treatise on decorative art and architectural ornament ...

[v. 1] Prehistoric art; ancient art and architecture; eastern, early Christian, Byzantine, Saracenic, Romanesque, Gothic, and renaissance architecture and ornament.--[v. 2] Pottery; enamels; ivories; metal work; furniture; textile fabrics; mosaics; glass; and book decoration.

Decorative art in America;

Mode of access: Internet.

A treatise on the theory and practice of landscape gardening : adapted to North America; with a view to the improvement of country residences; comprising historical notices and general principles of the art, directions for laying out grounds and arranging plantations, the description and cultivation of hardy trees, decorative accompaniments to the house and grounds, the formation of pieces of artificial water, flower gardens, etc.; with remarks on rural architecture /

Mode of access: Internet.

Artistic and decorative stencilling : a practical manual on the art of stencilling on paper, wood, and textile fabrics, for home adornment and articles of dress /

Mode of access: Internet.

Catalogue of the loan exhibition, 1878, in aid of the Society of Decorative Art : consisting of gems of the modern, foreign and American schools of painting and rare examples of various art industries, at the National Academy of Design.

Cover title: Loan exhibition in aid of the Society of Decorative Art, 1878.

Printmaking as an expanding field in contemporary art practice : a case study of Japan, Australia and Thailand

This thesis proposes that contemporary printmaking, at its most significant, marks the present through reconstructing pasts and anticipating futures. It argues this through examples in the field, occurring in contexts beyond the Euramerican (Europe and North America). The arguments revolve around how the practice of a number of significant artists in Japan, Australia and Thailand has generated conceptual and formal innovations in printmaking that transcend local histories and conventions, whilst paradoxically, also building upon them and creating new meanings. The arguments do not portray the relations between contemporary and traditional art as necessarily antagonistic but rather, as productively dialectical. Furthermore, the case studies demonstrate that, in the 1980s and 1990s particularly, the studio practice of these printmakers was informed by other visual arts disciplines and reflected postmodern concerns. Departures from convention witnessed in these countries within the Asia-Pacific region shifted the field of the print into a heterogeneous and hybrid realm. The practitioners concerned (especially in Thailand) produced work that was more readily equated with performance and installation art than with printmaking per se. In Japan, the incursion of photography interrupted the decorative cast of printmaking and delivered it from a straightforward, craft-based aesthetic. In Australia, fixed notions of national identity were challenged by print practitioners through deliberate cultural rapprochements and technical contradictions (speaking across old and new languages).However time-honoured print methods were not jettisoned by any case study artists. Their re-alignment of the fundamental attributes of printmaking, in line with materialist formalism, is a core consideration of my arguments. The artists selected for in-depth analysis from these three countries are all innovators whose geographical circumstances and creative praxis drew on local traditions whilst absorbing international trends. In their radical revisionism, they acknowledged the specificity of history and place, conditions of contingency and forces of globalisation. The transformational nature of their work during the late twentieth century connects it to the postmodern ethos and to a broader artistic and cultural nexus than has hitherto been recognised in literature on the print. Emerging from former guild-based practices, they ambitiously conceived their work to be part of a continually evolving visual arts vocabulary. I argue in this thesis that artists from the Asia-Pacific region have historically broken with the hermetic and Euramerican focus that has generally characterised the field. Inadequate documentation and access to print activity outside the dominant centres of critical discourse imply that readings of postmodernism have been too limited in their scope of inquiry. Other locations offer complexities of artistic practice where re-alignments of customary boundaries are often the norm. By addressing innovative activity in Japan, Australia and Thailand, this thesis exposes the need for a more inclusive theoretical framework and wider global reach than currently exists for ‘printmaking’.

Metaphor and Maltese Art: Explorations in the Temple Period

Temple Period Malta in the 3rd millennium BC saw the production of a range of figurative and decorative art and architecture that implies a richly populated spiritual and cognitive world associated with ritual practice in life and death. The paper explores the potential to categorize the figurative art into distinct groups, and how these various images might represent aspects of the cosmology and social concerns of a prehistoric island society.

Art québécois moderne (depuis 1940) au musée : regard sur la mise en scène permanente des collections

Ce mémoire comprend deux tomes : le premier consiste du texte et des figures, le deuxième consiste des annexes. Le tout est regroupé dans le document électronique présent.

L'histoire de l'art mise en pièces : analyse matérielle, spatiale et temporelle de la period room comme dispositif muséal

Dans cette thèse, nous étudions la period room présentée dans le musée d’art. À travers un examen de sa spécificité matérielle, spatiale et temporelle, nous analysons les mécanismes propres à cette stratégie de mise en exposition et nous identifions ses principales conditions de possibilité. Ce faisant, nous étudions les différents savoirs qui sont sollicités par la period room, leurs interactions ainsi que l’apport réciproque de cette stratégie de mise en exposition à la construction de ces savoirs et ce, de manière à établir les fondements d’une épistémologie de la period room. Nous montrons ainsi quelle est sa contribution particulière à l’élaboration et à la médiation de l’histoire dans l’espace muséal. Grâce à cette étude, nous posons des assises conceptuelles qui permettent de repenser le rôle de la period room pour la discipline de l’histoire de l’art, déjouant par le fait même les apories de l’historicisme et de l’authenticité en vertu desquelles la period room est le plus souvent discréditée. Nous procédons par études de cas à partir d’un corpus principalement composé de period rooms ayant pour référents des intérieurs français de la seconde moitié du 18ième siècle et qui sont présentées dans des musées d’art américains (Frick Collection, Metropolitan Museum of Art, Philadelphia Museum of Art) et dans un musée canadien d’histoire naturelle et culturelle (Royal Ontario Museum). Dans la première partie de la thèse, nous établissons la typologie muséographique de la period room et nous envisageons les enjeux, notamment idéologiques, associés à la question de son « authenticité » à travers une analyse de son double statut de pastiche et de simulacre. Nous posons en outre l’un des fondements théoriques de notre étude en montrant que, parce qu’elle est formée de l’articulation entre pouvoirs et savoirs, la period room est un dispositif au sens où l’entendent Michel Foucault (1977) et Giorgio Agamben (2007). Dans la seconde partie, nous examinons la spécificité matérielle de la period room en démontrant comment elle est simultanément une réunion d’objets et un « tout », c’est-à-dire un objet muséographique en elle-même. Nous étudions les implications épistémologiques de cette idée pour la représentation de l’histoire proposée au moyen de la period room, tout en portant une attention particulière aux enjeux politiques qui informent cette représentation dans l’espace muséal. Dans la troisième partie, nous nous concentrons sur les particularités spatiales et temporelles de cette stratégie de mise en exposition et nous démontrons que, en dépit de son apparente unité de lieu et de temps, la period room est composée de plusieurs espaces et concentre plusieurs temps. En puisant dans la spécificité même de ce dispositif, nous élaborons des outils théoriques et méthodologiques inédits qui contribuent à repenser la fonction de la period room pour la mise en forme et la transmission de l’histoire. En conclusion, nous présentons une dernière étude de cas qui, examinant l’intervention de Valerie Hegarty dans trois period rooms du Brooklyn Museum (2013), synthétise les principaux enjeux traités dans la thèse et défend la valeur d’actualité de la period room.

Arti decorative: Bologna e Faenza tra Ottocento e Novecento

La ricerca approfondisce gli studi iniziati dalla dott.ssa Baldini in occasione della tesi di laurea e amplia le indagini critiche avviate per la mostra sull’Aemilia Ars (2001). La ricerca si è interessata alle aree di Bologna e di Faenza individuando le connessioni che tra Otto e Novecento intercorrono tra la cultura artistica locale e quella nazionale ed europea. Nasce infatti in questo periodo Aemilia Ars, uno dei più innovativi movimenti del contesto nazionale nel campo delle arti decorative. I membri del gruppo, raccoltisi intorno alla carismatica figura di Alfonso Rubbiani nei primi anni Ottanta, sono attratti da influenze nordeuropee e sin dall’inizio si mostrano orientati a seguire precetti ruskiniani e preraffaelliti. Molto importante in entrambe le città, per l’evoluzione dello scenario artistico e artigianale – in questi anni più che mai unite in un rapporto di strettissima correlazione – è l’apporto e il sostegno offerto dai salotti, dai circoli, dai caffè e dai cenacoli locali. Dal punto di vista dello stile, forme lineari con una marcata tendenza all’astrazione caratterizzano la produzione dei principali interpreti faentini e bolognesi dell’ultimo ventennio dell’Ottocento allineandoli con le ricerche dei loro contemporanei nel resto d’Europa. I settori produttivi che si sono indagati sono quelli della ceramica, dell’ebanisteria, dei ferri battuti, dell’oreficeria, delle arti tessili e dei cuoi. Gran parte di queste lavorazioni – attardatesi nella realizzazione di oggetti dalle forme di ispirazione seicentesca, certamente poco adatte alla produzione industriale – subiscono ora una decisa accelerazione verso forme più svelte che, adeguandosi alla possibilità di riproduzione seriale degli oggetti, si diffonderanno quasi capillarmente tra l’aristocrazia e la borghesia, faticando tuttavia a raggiungere le classi meno abbienti a causa degli elevati costi di produzione. Nell’ultima parte viene tracciato sinteticamente il quadro delle attività artistiche e artigianali faentine del periodo indicato, con una particolare attenzione all’opera delle personalità afferenti al Cenacolo baccariniano.