Color sensation in figurative painting

The figurative painter accesses very complex levels of knowledge. To produce a painting requires, first, a deep analysis of the image of the reality and, afterwards, the study of the reconstruction of this reality. This is not about a process of copying, but a process of the comprehension of the concepts that appear in the representation. The drawing guides us in the process of the production of the surface and in the distribution of the colours that, after all, are the data with which the vision mechanism builds the visual reality. Knowing the colour and its behaviour have always been a requirement for the figurative painter. From that knowledge we can draw wider conclusions.

Voyage du prince de Galles au Canada, à Vancouver le prince passe une revue des Canadian Scottish : [photographie de presse] / [Agence Rol]

Référence bibliographique : Rol, 56425

Imagining a New Society: Public Painting as Politics in Postwar Finland

The thesis is the first comprehensive study on Finnish public painting, public artworks generally referred to as murals or monumental paintings. It focuses on the processes of production of public paintings during the post-WWII decades in Finland and the complex relationships between the political sphere and the production of art. The research studies the networks of agents involved in the production of public paintings. Besides the human agents—artists, assistants, commissioners and viewers—also public paintings were and are agents in the processes of production and in their environments. The research questions can be grouped into three overlapping series of questions: First, the research investigates the production public paintings: What kinds of public paintings were realised in postwar Finland—how, where, by whom and for what purposes? Second, it discusses the publicness of these paintings: How were public paintings defined, and what aspects characterised them as “public”? What was their relation to public space, public authorities, and audience? And third, it explores the politics of public paintings: the relationship between Finnish public painting, nationalism, and the memory of war. To answer these questions, extensive archival work has been performed, and over 200 public paintings have been documented around Finland. The research material has been studied in a sociological framework and in the context of the political and economic history of Finland, employing critical theories on public space and public art as well as theories on the building of nationalism, commemoration, memory, and forgetting. An important aim of this research was to open up a new field of study and position public painting within Finnish art history, from which it has been conspicuous by its absence. The research indicates that public painting was a significant genre of art in postwar Finland. The process of creating a national genre of public painting participated in the defining of municipal and state art politics in the country, and paintings functioned as vehicles of carrying out the agenda of the commissioning bodies. In the formation of municipal art policies in Finland in the 1950s, public painting connected to the same tendency of democratising art as the founding of public art museums. Public painting commissions also functioned as an arena of competition and a means of support for the artists. Public paintings were judged and commissioned within the realm of political decision-making, and they suggested the values of the decision-making groups, generally conveyed as the values of the society. The participation of official agents in the production allocated a position of official art to the genre. Through the material of this research, postwar public painting is seen as an agent in a society searching for a new identity. The postwar public painting production participated in the creation of the Finnish welfare society as indications of a humane society. It continued a tradition of public art production that had been built on nationalist and art educational ideologies in the late 19th and early 20th century. Postwar public paintings promoted the new national narrative of unification by creating an image of a homogeneous society with a harmonious communal life. The paintings laid out an image of Finnishness that was modern but rooted in the agrarian past, of a society that was based on hard work and provided for its members a good life. Postwar public painting was art with a mission, and it created an image of a society with a mission.

Maintaining Children’s Finnish Language Skills in an English Language Setting. A Study of Scottish-Finnish Families Living in Scotland

Tutkielmassa käsitellään kaksikielistä lastenkasvatusta ja siinä käytettäviä kasvatus-strategioita, erityisesti ns. OPOL-strategiaa, eli yksi henkilö – yksi kieli -strategiaa (one person – one language). Tarkoituksena oli selvittää, millä tavoin kaksikielisen perheen vanhemmat voivat tukea vähemmistökielen oppimista sellaisessa ympäristössä, jossa kielen oppimista ei tueta kodin ulkopuolella. Tutkielman alussa määrittelen keskeiset termit. Useita aiheeseen liittyviä termejä määritellään yleiskielessä eri tavoin jo termistä kaksikielisyys lähtien, joten termien rajaaminen tämän työn tarkoituksen mukaan oli tarpeen. Määrittelen myös tekstissä esiintyvät kaksikielisyyden eri tyypit ja taustat, kuten myös eri strategiat, joita kaksikielisessä kasvatuksessa voidaan käyttää. Tämän jälkeen esittelen aikaisempia kaksikielisyystutkimuksia sekä käsittelen OPOL-strategiaan liittyviä käytännön ongelmia, sekä näiden ongelmien mahdollisia ratkaisuja. Lopuksi käsittelen tutkimuksen empiiristä osiota, joka koostui sähköisestä kyselylomakkeesta sekä haastatteluista. Tutkimuksen kohderyhmä koostui Skotlannissa asuvista skotlantilais-suomalaisista perheistä, jotka pyrkivät kasvattamaan lapsistaan kaksikielisiä. Tutkimus tehtiin kahdessa osassa: ensimmäisen osan kyselylomakkeeseen vastasi 17 eri puolilla Skotlantia asuvaa suomenkielistä vanhempaa, ja toisessa osassa haastateltiin 10:tä Edinburghin ja Glasgow’n alueilla asuvaa kaksikielistä (suomi-englanti) perhettä. Molemmissa osioissa keskityttiin siihen, millä tavoin perheet tukevat lasten suomen kielen taitoa ja miten suomenkielistä syötettä yritetään lisätä. Tutkimuksen tuloksista käy ilmi, että Skotlannissa asuvat suomenkieliset vanhemmat ovat hyvin motivoituneita tukemaan lastensa kielellistä kehitystä eri tavoin, mm. lukemalla kirjoja, katsomalla elokuvia ja käymällä Suomi-koulussa. Suurin osa perheistä myös käy Suomessa säännöllisesti, mikä näyttäisikin olevan yksi keskeisimmistä kaksikielisyyttä tukevista tekijöistä. Eri perheiden lapset olivat saavuttaneet eri tasoja suomen kielessä, mikä viittaa siihen, ettei lapsen kielitaito ole seurausta ainoastaan OPOL-strategian tarkasta seuraamisesta, vaan siihen vaikuttavat myös monet muut tekijät.

Patterns in space : a regional study of motif in Minoan wall painting

This thesis consists of a quantitative analysis of the regional prevalence of certain artistic motifs as they appear in Minoan wall painting of the Neopalatial period. This will help to establish the relative degree of artistic autonomy exercised by each of the sites included in this study. The results show that the argument for itinerant artists during this time period is a strong one, but the assumption that these travelling artists were being controlled by any one palace-centre is erroneous. Rather, the similarities and differences seen suggest that the choices were predicated either by the specific patrons, or by the function of the associated building or room. Thus, the motifs found within this study should be understood as constituting a cultural identity, with greater or lesser degrees of regional homogeneity, which act as one facet of a number of cultural indicators that can be used to better understand the role of artists and regional dynamics on the island during the Bronze Age.

Painting signage on old Student Union, Chapman College, Orange, California

Painting signage on old Student Union, Chapman College, Orange, California, as part of a campus renewal project in 1973. Originally the manual arts building and bus repair garage for Orange Union High School. Building annex additions through 1975 increased the size to 19,680 sq. ft. Used as a student union by Chapman College. In 1996 the building became the Cecil B. DeMille Hall, housing the Film and TV department.

Scottish Rite (Masonic Order) French Language Collection, 1787-1825, 1907, n.d.

The origins of the Scottish Rite of Freemasonry can be traced to France around 1754, when a Chapter of Claremont was founded in Paris. Initially this chapter had seven degrees, but by 1758 there were twenty-five degrees, known as the Rite of Perfection. In 1761, Stephen Morin was appointed to introduce the Rite into the New World. He began with Kingston, Jamaica and San Domingo. Further establishments were made in New Orleans, LA(1763); Albany, NY (1767); Philadelphia, PA (1782); and Charleston, SC (1783). In order to improve the disorganized state of the degrees in Europe, “Grand Constitutions” were enacted in 1786. These Constitutions formally brought into existence the “Ancient and Accepted Scottish Rite”. None of the degrees of the Scottish Rite would seem to have origins in Scotland. “Scottish��� is translated from the French word “Ecossais”, which is found in some of the French titles of some of the degrees of the Rite of Perfection. It is possible that the Scottish connection is a result of the involvement of a Scotsman, Andrew Michael Ramsey, who may have devised some of the degrees.

Watercolour painting, Trees

A watercolour painting of trees, 15cm x 10com, signed by Margaret Woodruff.

Letter to Mr. William Leary, steward of the Long Point Company, from S.D. Woodruff regarding the painting of the new building at Long Point

Letter to Mr. William Leary, steward of the Long Point Company, from S.D. Woodruff regarding the painting of the new building at Long Point (2 ½ pages, handwritten), June 11, 1875.

Receipt from George Begy for painting

Receipt from George Begy for painting.

Watercolour painting of the Woodruff coat of arms on paper

Watercolour painting of the Woodruff coat of arms on paper. This measures 43 cm. x 31 cm., n.d.