The effects of Chinese painting appreciation education on the artistic achievement of junior high school students in Taiwan

For the Chinese, fine art is one of the most important items in human life. The goals of fine arts education enhance the student so that s/he can make reasonable judgments about work, gain knowledge of color and understand the process of designing environmental layouts. Related technique and creativity training are offered students in accordance with individual differences and social expectations.^ Traditionally, Taiwan's junior high school fine art program teaches mainly painting technique. The Ministry of Education in Taiwan determines the curriculum of junior high school fine art education. The purpose of this study was to determine the effects of teaching Chinese painting appreciation on the artistic achievements of junior high school students in Taiwan. The subjects were seventh grade students who had never learned Chinese painting before. Two classes were randomly chosen from each target school and were designated as the experimental or control group. Instruction in all groups was delivered by the researcher himself. At the end of the study, data about subjects' related knowledge, creative technique, and feeling toward Chinese painting were systematically collected and analyzed.^ The result of the study was that students in the experimental group were more motivated to learn Chinese painting than were the students in the control group. Students in the experimental group made better progress in the development of creative skill, had better critical ability, and demonstrated better performance in Chinese painting form, set up, stroke and color of related knowledge than did students in the control group. It was therefore concluded that Chinese painting appreciation education can promote better artistic achievement and that this approach should be used in other areas of art education. ^

Merlin Stone

General note: Title and date provided by Bettye Lane.

Merlin Stone reading Ancient Mirrors of Womanhood, vol. II

Inscriptions: Verso: [stamped] Photograph by Freda Leinwand. [463 West Street, Studio 229G, New York, NY 10014].

Beyond Black and White: The grisaille exterior of the Netherlandish triptych

This thesis is a study of fifteenth- to mid sixteenth-century Netherlandish triptych exteriors, focusing on the so-called ‘grisaille’ technique. During this period, altarpieces produced in the Low Countries were typically constructed in a tripartite format with folding wings. This arrangement created the opportunity for pictorial representations on both sides of the hinged panels. Painters emphasized the distinction between the triptych’s two faces by executing the exteriors in a strikingly more subdued palette than the interiors. Particular iconographic subject matter was favoured for grisailles, which often depict the Annunciation or saints that reflect the triptych’s patronage or intended location. Jan van Eyck was notable for his emphasis on imitating stone statuary and created three important grisailles, one of which would influence triptych exteriors for years to come. Hieronymus Bosch, an artist working at the turn of the sixteenth century, also brought innovation to his grisailles, further expanding the potential of these reduced-palette paintings. This thesis examines the creative process involved in the production of grisailles and compares the underdrawings of triptych exteriors to those of the corresponding polychromatic interiors. In this study, grisailles are situated in their context as part of multifaceted artworks as well as within the broader church environment. New infrared reflectograms were generated using Queen’s OSIRIS infrared camera to document works in Belgium and the Netherlands. While some aspects of underdrawings could indicate that the figure was meant to imitate statuary, this distinction was not directly linked to triptych exteriors and was related instead to efforts at a trompe-l’oeil effect. Such attempts at mimicry can also be found on triptych interiors. Through a close examination of the underdrawing stage of these paintings it appears that this part of the creative process was not distinguished in any significant way from the underdrawings of triptych interiors.

The Gentleman-Scholar at Home: Domesticity, Masculinity, and Civility in Dutch Seventeenth-Century Genre Painting

This dissertation examines the gentleman-scholar depicted at home in Dutch seventeenth-century genre paintings, focusing primarily on art created in the Northern Netherlands from the 1630s through the 1670s. The methodological approach is art historical but also pertains to history of architecture, history of dress, and gender studies. Employing the framework of the 'Ages of Man', this thesis investigates three related pictorial themes: the student, the scholar in his prime, and the aged scholar. Variations of male scholarly figures and the accoutrements of the study have a long history in Europe. Prototypical sources include religious history paintings of learned hermit-saints; artistic interest in the allegorical Saturnine persona; portraits of famous scholars; and the iconography of scholarly melancholy implied through vanitas allusions in portraiture and genre paintings. While the majority of Dutch genre paintings pertain to themes of women, male domestic routines form a small but important subset of this imagery and have not been studied. By the 1640s, this subject is readily identified by his setting, clothing, and actions. The ubiquity of scholarly attributes, such as books and globes, paired with the wearing of scholarly robes suggest the merits of intellectual curiosity and the privileges of studying as a pastime and designating a room as a study (studeerkamer). Distinct themes in genre also imply the challenges and rewards of scholarly activity pursued in concert with masculine civic and familial duty. Central to the development of this pictorial theme were: the innovative treatment of learned men by Rembrandt and his circle; the fijnschilder subjects of Dou; and the practice of amateur study by elite men, as suggested by the art of Vermeer. As this dissertation reveals, this convention did not grow to be consistent across the Northern Netherlands, nor was artistic interest limited to university towns. Rather, the larger relevance of scholars in Dutch society is evident in visual and literary sources. The domesticity of this figure in genre painting suggests that scholars mediated between an active and a contemplative life. Societal respect was garnered for scholars through their balance of familial and social duties with the honorable pastime of scholarly leisure.

Jan Steen and The doctor’s visit: Classical Tradition in Golden Age Dutch painting (1st Part)

First one of a two-part analysis on the influence of the Classical Tradition on a favourite theme along the Dutch painters of the Golden Age, The doctor’s visit or The lovesick maiden, especially in the Leiden artist’s production, Jan Steen (1626-1679).

Evaporative Moisture Loss from Heterogeneous Stone: Material- Environment Interactions During Drying

The complexities of evaporation from structurally and mineralogically heterogeneous sandstone (Locharbriggs Sandstone) are investigated through a laboratory-based experiment in which a variety of environmental conditions are simulated. Data reported demonstrate the significance of material-environment interactions on the spatial and temporal variability of evaporative dynamics. Evaporation from porous stone is determined by the interplay between environmental, material and solution properties, which govern the rate and mode by which water is transmitted to, and subsequently removed from, an evaporating surface. Initially evaporation is marked by high rates of moisture loss controlled by external atmospheric conditions; then, when a critical level of surface moisture content is reached, hydraulic continuity between the stone surface and subsurface is disrupted and the drying front recedes
beneath the surface, evaporation rates decrease and are controlled by the ability of the material to transport water vapour to the surface. Pore size distribution and connectivity, as well as other material properties, control the timing of each stage of evaporation and the nature of the transition.

These experimental data highlight the complexity of evaporation, demonstrating that different regions of the same stone can exhibit varying moisture dynamics during drying and that the rate and nature of evaporative loss differs under different environmental conditions. The results identify the importance of material-environment interactions during drying and that stone micro-environmental conditions cannot be inferred from ambient data alone.
These data have significance for understanding the spatial distribution of stone surface weathering-related morphologies in both the natural and built environments where mineralogical and/or structural heterogeneity creates differences in moisture flux and hence variable drying rates. Such differences may provide a clearer explanation for the initiation and subsequent development of complex weathering responses where areas of significant deterioration can be found alongside areas that exhibit little or no evidence surface breakdown.

Stone temperature and moisture variability under temperate environmental conditions: implications for sandstone weathering

Temperature and moisture conditions are key drivers of stone weathering processes in both natural and built environments. Given their importance in the breakdown of stone, a detailed understanding of their temporal and spatial variability is central to understanding present-day weathering behaviour and for predicting how climate change may influence the nature and rates of future stone decay.
Subsurface temperature and moisture data are reported from quarry fresh Peakmoor Sandstone samples exposed during summer (June–July) and late autumn / early winter (October–December) in a mid-latitude, temperate maritime environment. These data demonstrate that the subsurface thermal response of sandstone comprises numerous short-term (minutes), low magnitude fluctuations superimposed upon larger-scale diurnal heating and cooling cycles with distinct aspect-related differences. The short-term fluctuations create conditions in the outer 5–10 mm of stone that are much more ‘energetic’ in comparison to the more subdued thermal cycling that occurs deeper within the sandstone samples.
Data show that moisture dynamics are equally complex with a near-surface region (5–10 mm) in which frequent moisture cycling takes place and this, combined with the thermal dynamism exhibited by the same region may have significant implications for the nature and rate of weathering activity. Data indicate that moisture input from rainfall, particularly when it is wind-driven, can travel deep into the stone where it can prolong the time of wetness. This most often occurs during wetter winter months when moisture input is high and evaporative loss is low but can happen at any time during the year when the hydraulic connection between near-surface and deeper regions of the stone is disrupted with subsequent loss of moisture from depth slowing as it becomes reliant on vapour diffusion alone.
These data illustrate the complexity of temperature and moisture conditions in sandstone exposed to the ‘moderate’ conditions of a temperate maritime environment. They highlight differences in thermal and moisture cycling between near-surface (5–10 mm) and deeper regions within the stone and contribute towards a better understanding of the development of structural and mineralogical heterogeneity between the stone surface and substrate.

A Viking in New York : The Kensington Rune Stone at the 1964–1965 World’s Fair

A second-season makeover at the 1964-1965 New York World's Fair. Hoping that "an interesting controversy" would revive the state of Minnesota's failing pavilion, Minnesota adds a large fiberglass Viking, longboat-styled snack bars, and the contested Kensington Runestone itself to its 'Brainpower Builds Profits' exhibit. [abstract adapted from Minnesota History 63/1]

Revising Devotion: the role of wooden sculptures in affecting painting and devotion in the Late Medieval period in Italy (XII-XV century)

Thesis (Ph.D.)--University of Washington, 2016-06

Encountering the Spectre of Painting

When thinking what paintings are, I am continually brought back to my memory of a short sequence in Alfred Hitchcock’s Vertigo. In the scene, Kim Novak’s Madeleine is seated on a bench in an art gallery. She is apparently transfixed by a painting, Portrait of Carlotta. Alongside James Stewart, we watch her looking intently. Madeleine is pretending to be a ghost. At this stage she does not expect us to believe she is a ghost, but simply to immerse ourselves in the conceit, to delight in the shudder. Madeleine’s back is turned away from us, and as the camera draws near to show that the knot pattern in her hair mirrors the image in the portrait, I imagine Madeleine suppressing a smile. She resolutely shows us her back, though, so her feint is not betrayed. Madeleine’s stillness in this scene makes her appear as an object, a thing in the world, a rock or a pile of logs perhaps. We are not looking at that thing, however, but rather a residual image of something creaturely, a spectre. This after-image is held to the ground both by the gravity suggested by its manifestation and by the fine lie - the camouflage - of pretending to be a ghost. Encountering a painting is like meeting Madeleine. It sits in front of its own picture, gazing at it. Despite being motionless and having its back to us, there is a lurching sensation the painting brings about by pretending to be the ghost of its picture, and, at the same time, never really anticipating your credulity.

The Wounded Me: a novel and critical essay on Hugo Simberg's oeuvre and the literary engagement with his painting The Wounded Angel

No abstract available.