Theses (Art History and Visual Studies)

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Formerly theses from the Department of History in Art

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Spectacle as world: Situationist theories on the world of images
(2025) O'Meara, Anna Gabrielle; McLarty, Lianne
Society of the Spectacle (1967) (La Société du Spectacle) was not simply an expression of the ideas of its author, Guy Debord, but rather served as a definitive theory of the Situationist movement (SI) (1957-1972.) This dissertation aims to explain the Situationist theory of the Spectacle through the central theme of the Spectacle as world. Discourse regarding the theory of Spectacle as world is established through primary texts, images, and archival documents by members of the Situationist International (SI) and interlocuters. Central sources include the book, Society of the Spectacle (1967), and the film, Society of the Spectacle (1972), both by Guy Debord. Context will be established through conflicts and comparisons with theories of worlds surrounding the Situationist milieu, particularly from Surrealism and the journal, Arguments. The postwar period saw a proliferation of images through media to an extent that had not existed prior. However, according to the Situationist theory of “Spectacle,” this proliferation was a world, not a mere accumulation of images. Representations dominated architectural space, perception, and individual subjectivities. Aesthetes of the time including Surrealists and the journal, Arguments, characterized the postwar inundation of images as liberating, arguing that images presented possibilities for limitless voyages into Inner Worlds. These concepts of Inner Worlds were often blended with mystical and occultist notions. Unlike aesthetes and mystics, Situationists rejected the glorification of representation, art, and the limitations of subjectivity, which they argued created an alienated inner wasteland. Situationists questioned whether, instead of retreating within the Self, there were possibilities for transcending the limitations of perception, particularly insofar as perception was manipulated and socially defined. This transcendence was not intended to lead to a fixed utopian end, but rather a series of endings and beginnings because, unlike frozen images and reels of the past, the material world was in flux. Situationist strategies that employed principles of flux and diversity (e.g., détournement) presented challenges to media and representation as a means of contesting authoritarian structures, including fascism, Stalinism, and colonialism. This dissertation is organized into the following chapters: (1) Weltanschauung (worldview) (2) Pseudo-Worlds (3) Inner Worlds (4) Dreamworlds (5) The End of the World. (1) Weltanschauung begins by defining the limitations of perception through Situationist readings of European philosophy, as well as interpretations by their contemporaries, especially Surrealists and members of the journal, Arguments. Limitations to perception are especially considered in relation to art and representation. (2) Chapter 2, Pseudo-Worlds, considers how Debord defines the Spectacle as a “Weltanschauung materialized.” When materialized, worldviews become a pseudo-world separate from human thought and control. The illusory falsity of the pseudo-world is treated with regards to various designations including distortions, lies, and artificiality. (3) Inner Worlds considers how subjectivity is often located through discussions of an individual’s mind; an inner being. Surrealists interpreted this interiority as an escape wherein different manifestations of the Self could be found and unified. Contrarily, Situationists saw the Inner World as an alienated wasteland. (4) Chapter 4, Dreamworlds, places Surrealist and Situationist ideas into conversation. Surrealists saw dreams as emulations of subjective Inner Worlds that related directly to the creation of their art. Situationists saw the Self, art, and dreams as related but nevertheless emphasized ways in which each were distinct. The Spectacle, while not technically a dream generator, emulates aspects of dreams in ways that detach individuals from material reality and can be used as a mechanism for social control. (5) The End of the World considers possibilities for transcending Spectacle and subjectivity. If an individual contains an Inner World, then that world will end. New futures can be created. Change allows for creation and revolution. The Conclusion discusses transformation and possibilities for creating new worlds.
Natural history dioramas : a popular art idiom in the museum context
(1985) Wonders, Karen Elizabeth
This study examines the natural history diorama as a unique exhibition technique which proliferated in North American museums during the twentieth century, Chapter 1 concludes that, despite its many derivations, current usage of the term "diorama" is most commonly applied to three-dimensional, life-scaled exhibits which feature wildlife specimens posed in simulated environmental habitats. In Chapter 2, early nineteenth century illusionistic spectacles are investigated as popular predecessors of the modern museum diorama, This inquiry into the diorama's historical origins also includes a review of the first, natural history collections, the popularization of natural history for public consumption, and the evolution of the natural history museum in North America. Chapter 3 examines the development of the group method of exhibiting wildlife specimens. A growing concern with the disappearing wilderness and the new educational goals of museums are viewed as factors which contributed to the emergence of the habitat concept as an exhibition technique in the early twentieth century. Natural history dioramas are compared to the American school of nineteenth century panoramic landscape painting in Chapter 4. Because of their affinity in style and subject matter , it is proposed that dioramas be consider ed a popular continuation of a fine arts convention in landscape painting. Chapter 5 explores dioramas as a n art form that transformed the course of museological exhibition. To demonstrate the skill and creativity involved in producing a diorama, the careers of several background painters are discussed, together with the personal views of some contemporary museum artists. Argument i s presented that museums have tended to overlook the special qualities that make the art of dioramas unique. In the final chapter it is concluded that natural history dioramas have not received the recognition they deserve as a popular art form that has dominated the history of museological exhibition in North America.
Eminent post-Victorians : the Bloomsbury circle and the visual arts
(1978) Wright, Patricia Ann
The thesis proceeds from the twin assumptions that, much critical history to the contrary, neither "Bloomsbury" nor "Victorian" is properly a pejorative term. It suggests that the ideas, work and lives of the art critics and painters among the highly creative, much admired and much maligned "Bloomsbury circle" of friends may be a valuable source of understanding of the Victorian-rooted, upper-middle class milieu they shared in the England of the early 20th century. The body of the essay, then, addresses the subject of the Bloomsbury circle and the visual arts from theoretical, practical, and biographical points of view. It examines in turn the formalist theory and criticism of Roger Fry and Clive Bell; the applied arts practice and patronage of Duncan Grant and Vanessa Bell; and the life of Vanessa Bell as revealed in her painting, correspondence and memoirs. Although these artists and critics, as did their literary friends, related themselves to the modern movement in conscious rejection of the Victorian past, their ideological connections with that past--the elitism of Clive Bell and the religiosity of Roger Fry; the additive, humanistic, and non-doctrinaire practice of the Bloomsbury decorators: and the view of women offered to and internalized by Vanessa Bell--are seen throughout this thesis as crucial to an understanding of these figures and their period.
The shamsa in Iranian illuminations
(1988) Wright, Elaine Julia
The work and thought of Ozias Leduc in the intellectual and social context of his time
(1990) Winters, Barbara Ann
The purpose of this study is to provide insight into the work of Ozias Leduc (1864-1955) by examining his artistic development within the social and cultural context of his period. It entails an exploration of the two streams of influence which played upon the evolution of his art and ideas. As a French Canadian artist Leduc was subject to the prevailing social conservatism and nationalism which strongly marked the character of the arts in Quebec. At the same time, he was clearly inspired by contemporary currents associated with the European avant-garde at the turn of the century, particularly the Symbolist movement The uniqueness of Leduc's art emerged from his ability to assimilate and balance influences from what were fundamentally conflicting attitudes within the social setting of Quebec. The cultural community in Quebec was divided between those who supported the development for a distinctly nationalist, that is, a regionalist art, and advocates of modern European culture and artistic license. Leduc maintained a relationship with members of the divergent factions, which he established either through mutual interests and/or commissioned works. An exploration of some of his relationships throughout his career, in conjunction with an analysis of associated works, illuminates the social and artistic issues of his time and how they are reflected in his art. Leduc's thoughts are recorded in a myriad of personal notes which are preserved in the Archives nationales du Quebec in Montreal. I have made ample use of these notes to reveal the extent of his vast range of intellectual and artistic inquiry, and the depth of his own philosphical viewpoint which directed his artistic concerns. Correspondence and other documents contained in the Leduc archive have provided additional resource material to supplement a selected survey of his work. It has become apparent to me through the progress of this study that a fuller understanding of the arts of French Canada can only be achieved by considering the distinct concerns which have shaped Quebecois society. Leduc's art, his church decorations, his commissioned works, and his personal easel art, while expressing an individual vision, also mirrors cultural forces in play in Quebec during his time. A secondary aspect of my research, which became a corollary to my primary intentions, is that Leduc, because of his interactions within the Quebec cultural community and his broad range of interests, became a focus from which to gain a perspective on the social issues in French Canada which are manifest in the arts.
George Tooker : a reassessment of the artist
(1987) Wigmore, Jodi Ann
Estonia : a history in architecture
(1985) Wieland, Helene Malvet
This thesis examines the history of Estonia through its architecture. Since 1219, except for a brief twenty-year period, Estonians have been ruled by a succession of foreign powers; it is they who have left their mark on the country by the buildings they chose to erect. By considering a limited number of structures as representative of approximately eight hundred years of written history, this paper focuses on an analysis of the function of architecture in Estonia, not only from a utilitarian and aesthetic perspective but also in terms of what could best be defined as "social function." Thirteen buildings (or classes of buildings) were chosen for detailed examination in order to represent successive ruling powers and their important institutions. Each structure is discussed in terms of architectural style and purpose within its social, cultural and political context . Although an attempt was made to cover all principal areas of t he country, i.e., major towns, the countryside and the islands, the main consideration was to choose examples that are significant by their function to the historical development of the land as a whole. Architecture in Estonia, as everywhere else, is "politics in three dimensions"; dominant institutions throughout Estonia's history, as throughout all history, have used architecture as a means of persuasion and an expression of conviction, sometimes deliberately and consciously, sometimes subliminally. This has been done through choice of building to be constructed, selection of site, and determination of architectural style. Through an examination of these factors within the proper context, one must conclude that architecture in Estonia was consistently employed to impress upon the people the will, the interests, and the belief of those in power.
The Annunciation theme : a case study in the unchanging art of illustration
(1979) Wiebe, Roy Allen
This thesis investigates the nature of illustration through a study of how the Roman Catholic Church illustrated the Annunciation theme and its underlying dogmatic significance over a period of fifteen hundred years. The nature of illustration and the Church's teaching on the use of art are first described and are seen to be closely related. Generally a patron has a message he wants conveyed: the artist gives it suitable visual form by using a style and iconography its intended audience finds attractive and understandable. The artist, whether the illustration is religious or not, works for his patron (usually) and his public. His art is expected to fulfill a specific need. The nature of the subject matter also influences the artist's approach to illustration. In the case of official Catholic art the primary duty of the illustrator is to depict clearly the doctrinal significance of gospel events in a way that his audience will find relevant and comprehensible. As Church art has the secondary persuasive function of strengthening belief and overcoming disbelief, it is important that an attractive style, related to the contemporary situation, be used. The main dogmatic significance of the gospel events portrayed in the five Annunciations and one Nativity studied in this thesis is the doctrine of the Incarnation which remains virtually unchanged over the period of this study. The patronage and content thus remain constant, the main variables are style, iconography and the social-religious context. The first four examples in this study indicate how the Church's actual practise conformed to her teachings on art and how both style and iconography were manipulated to relate an unchanging theme to very different religious and social situations. The artist consistently worked for his patron and public and chose an acceptable style and iconography (usually standardized) that presented his subject matter in a way that would be easily understood and found attractive as well as relevant. The last two examples are less successful illustrations. Rossetti was more concerned with realism than the traditional approach to illustration. He used a style that primarily reflected his views on art, a style that happened to be unpopular, and he insisted on .depicting the gospel event as it might have occurred. The public found his work neither attractive nor edifying. Although his Annunciation also has some doctrinal ambiguity, its main flaw is its unpopular style which does not fulfill the secondary persuasive function of Catholic illustration. Beardy's Nativity fails for the opposite reason. It presents doctrine ambiguously and thus violates the primary criterion of good Catholic illustration. Rossetti's realistic approach was a new attitude to art in his day, an attitude that has since come to influence much modern art including Beardy's work, to its detriment as a religious illustration. This approach has also placed a tremendous strain on the traditional artist- patron relationship and has frequently alienated artists from the public. Although this thesis focusses on one particular teaching illustrated by one particular patron, its conclusions also indicate how successful illustration in general should be done, with special reference to the role of the artist in modern society. The nature of illustration has remained unchanged from our earliest to our latest example; the formula for success still applies and might help restore the traditional artist-public relationship without any sacrifice of artistic quality. If successful illustrations like the S. Maria Maggiore mosaics or the Reims sculptures can al so be impressive works of art in their own right, perhaps the same could be true of modern illustrations.
The Limners : art in Victoria, 1920-1989
(1989) Whittaker, Julia Frederika
The development of modern art during the twentieth century in Victoria, British Columbia, can be traced through a study of the city's most important artists' group, the Limners. Formed in 1971 in Herbert Siebner's living room, the Limners are still functioning today. From the beginning they were a group of friends, many of whom had known each other for decades. They joined together in order to support each other and arrange for exhibitions of their work. Charter members were Siebner, Maxwell Bates, Myfanwy Pavelic, Nita Forrest, and Richard Ciccimarra. Robin Skelton soon joined as their spokesman. Within a short time Elza Mayhew, Robert De Castro, and Karl Spreitz were also added. Although initially sharing a common interest in depicting the human figure, the Limners later evolved a looser artistic agenda that concerned what Skelton called a "depth exploration of the human creature." They often portrayed images of loneliness and human relationships, and their work relates to the human need for worship and ritual. Although several of the charter Limners have died, new members have joined the group in the late seventies and eighties, and their enthusiasm and organization will ensure the longevity of this society of artists. It is the artistic development of the nine core members, however, which concerns this study. Parts One and Two offer a survey of the history of art in Victoria from the mid-nineteenth century to the present and deal with the conservative Island Arts and Crafts Society and its demise, the movement to create a public art gallery, and the state of art education in the city. Important figures, like Mark Kearley, Colin Graham, and Jan Zach, who brought a modern art aesthetic to Victoria, are examined. Part Three focuses on the artistic development of the charter members of the Limner Society of artists from 1920 to the present. It includes an examination of how these artists, many of whom were immigrants, affected the local scene, whether they were influenced by indigenous Northwest Coast art, and whether they influenced each other's art. The Limners played an important role in an emerging art scene. Never before the focus of a scholarly study, these artists, and art in Victoria in general, are now attracting a great deal of attention and are finally receiving the kind of recognition they deserve.
The Hollywood horseman, evolution of an archetype
(1979) White, R. Kerry
This thesis is a survey of the image of the man on horseback, principally as it occurs in painting and sculpture throughout history, but also as it has appeared in literature, film and television. The image is seen as the heroic motif of ruling classes which evolved from both the nomadic culture of the Central Asian steppes and the civilizations of the river valleys during the second millennium B.C. The twofold purpose of the survey is to document the archetypal characteristics of the image and to note their specific function as they appear in different social contexts. This implies that depictions of the horseman have meaning on at least two important levels: they refer to or recall the primary traditions of the class and they serve specific ideological purposes in given situations. Initial criteria for the survey are derived from a brief analysis of images and themes in Hollywood Western films, which in turn are seen as products of nineteenth century American romanticism--the mythos of the "0ld West." The archetypal origins of these ideas are then examined in the context of ancient life styles and mythological traditions. From this period representations of horsemen emerge as heroic images of supremacy and they are utilized as such by the leaders of Greek and Roman societies until the fall of Rome. Thematic and stylistic variations on this tradition are then traced in the art and literature of the Medieval, Renaissance and Baroque periods to the time when middle-class values and revolutionary aspirations began to modify the aristocratic bias of equestrian art. This was the romantic age of national "popular" heroes, when traditional imagery was employed not only by European leaders such as Napoleon, Wellington and Garibaldi to win popular support, but also by their American counterparts, who added the "natural" virtues of frontier life to their political images . With the deliberately cultivated portraits of Theodore Roosevelt as the "cowboy President," the survey has come full circle, and a concluding chapter briefly examines the persistence of romantic equestrian themes in commercial media, from films to advertising. It is finally proposed that the popular arts of North American society have continued the archetypal characteristics of historic art, both directly, through works which feature the "Old West" and its legendary heroes, and indirectly, through programs in which modern technology and urban settings are employed simply as analogous substitutes for traditional images.
"Land of the painted totem" : northwest coast native art at the service of the 1958 British Columbia Centennial
(1998) Weatherston, Brenda Lee
The 1958 British Columbia Centennial was the first of a series of centennials for the province which marked significant events in the history of British Columbia. These centenary events played an influential part in the construction of British Columbia's sense of identity, at a time when the province was undergoing rapid modernization and the general public's perceptions of First Nations were undergoing fundamental change. This thesis examines the role of Northwest Coast Native art and culture within the 1958 centenary celebrations and their commemorative and symbolic context. It explores how government and private organizations, as well as tourism, shaped the Centennial programme. Through a survey of the Centennial projects that incorporated elements.of Native culture, it considers the Centennial's use of First Nations cultural resources, who exercised control over these resources, and the implications and benefits of their use for First Nations and non-native parties. It reveals that while First Nations were marginalized in the planning and management of the Centennial, elements of First Nations culture were central to the symbolic messages presented in the 195 8 celebrations by its organizers. The 1958 Centennial provided an opportunity for the production of numerous local, as well as province-wide celebrations and projects, to commemorate history or to establish permanent legacies for the province. Chapter one provides some general background on the government-sponsored Centennial celebrations. It examines the organizational structure of the Centennial Committee and the extent to which First Nations participated in the planning and management of the Centennial programme. The role of First Nations within the Centennial is analyzed through a discussion of the overall state of Native/non-native relations at the time. It continues by introducing a survey of initiatives organized or approved by the Centennial Committee which incorporated First Nations culture or imagery. It then presents three Centennial promotional initiatives: the commemorative Canadian silver dollar (coordinated by the Federal Government), the poster competition, and the Committee's general advertising and promotions campaign. Chapter two documents in detail the Royal Totem Pole, a major Centennial project which produced the Province's commemorative gift for Queen Elizabeth II. Chapter three discusses some of the Centennial souvenir initiatives and introduces projects that were either organized by First Nations groups or communities, or involved First Nations contributions. In contrast, a selection of non-native proposals which included Native cultural content are discussed briefly to demonstrate the range of projects considered or undertaken during the year. The public impact of the surveyed Centennial projects is analyzed through promotional materials, press coverage, and archival correspondence. The Conclusion of this thesis explores the 1958 Centennial context and its projects through an analysis of the issues of cultural appropriation, representation, and authenticity. It considers the impact of the 1958 Centennial program through a comparison with more recent British Columbia commemorative initiatives such as the 1967 and 1971 Centennial celebrations, Expo '86 in Vancouver, and the 1994 Commonwealth Games in Victoria. The l 958 Centennial celebrations provide an opportunity to explore the appropriation of First Nations cultural resources and their role in the ever-changing construction of British Columbia history and identity.
The symbolic function of the Bank of Montreal Building on the Place d'Armes, 1846 : an image of the English mercantile aristocracy
(1979) Vincelli, Brendan MacLeanr
This study explores the symbolic function of the Bank of Montreal Building, on the Place d'Armes, in Montreal, By John Wells, of 1846. Looking at the structure in historic perspective, its inherent symbolic function within the context of Montreal during the first half of the nineteenth century is unravelled by an examinati6n of the "roots" of the artistic form. The historic battles of the English landowning class, within the European framework, became the basis of the 'country house image', to which the Bank of Montreal was heir. The fight against bureaucratic monarchy, the desire to 'do what one would with ones own', became the foundations of the triumph of the Whig nobility at the start of the eighteenth century. The desire of a 'natural world', a rational space, was expressed by the agrarian image of the victorious Whig nobility. When the aristocracy conscripted the Palladian style as their visual metaphor in 1714, the 'temple house' image became tied to the concept of oligarchical government, and the agricultural revolution taking place in the countryside. The agricultural revolution, reformed, and reorganized the economy, the entire way of life in England. The Palladian style spread to Scotland, and Ireland, as the symbol of the new economic order, capitalism. The 'agrarian image', the Palladian temple house form, was adopted by the banks in the English-speaking world as their architectural image. In the United States, in Canada, the agrarian image of the English mercantile aristocracy, reappeared as the symbol of the new economic order. The Bank of Montreal Bu il ding of 1846, within the context of Montreal of the first half of the nineteenth century, was an invitation to the conquered French to come and participate in the new economic system. So, in Lower Canada, the historic symbol of reformed agriculture, the English mercantile aristocratic image, stood in opposition to the way of life of the vast majority of the French-speaking population, locked into a pattern of semi-feudal, unreformed agriculture, as the basis of the economic system.
The politics of transgression : women painters in Bali during the 1990s
(2002) Truchi, Adrienne Sugita
This thesis examines the social paraphernalia affecting women's art production in Bali, Indonesia - particularly painting. All forms of production in Bali - including art production - are divided along gender lines. Whereas men have traditionally produced certain art forms - i.e. painting - women have traditionally produced others - i.e. textiles. Not surprisingly, then, the majority of painters in Bali are men. However, today, more and more women are taking up painting professionally. I attribute this, in part, to the fact that a group of Indonesian and non-Indonesian women established alternate networks within which to operate during the early 1990s. These include Tkatan Seniwati di Bali (Women's Art Association of Bah), or ISW ALI, and the Seniwati Gallery of Art by Women. Both of these organizations provide women painters with the kind of institutional support denied them by local museums and art schools. In addition to this, they have helped legitimize women ' s art practise in Bali.
The Intermedia society (1967-1972) and early Vancouver performance art
(1994) Tuttle, Gail Elizabeth
A portrait of the artist in society : Warhol paints Warhol
(1998) Tozer, Patricia Ann
In the early 1960s, Andy Warhol began to develop a distinctive public persona that was characterized to a great extent by a watchful, aloof nature. He used his persona to promote himself in the art world and to a general audience. Throughout his career, Warhol completed a number of self portraits which he used to further emphasize his public image. Three such images, dating to 1964, 1965- 67, and 1981 consecutively, are the focus of this thesis. These self portraits appear at important points in Warhol's life and they function as markers that indicate his persona and career goals at the given time. In addition, it can be said that some of Warhol's more personal concerns are revealed in these images. Common themes of rebellion, homosexuality and Warhol's own perception of his place in the art world are found in all three of these images.
San Francisco rock posters, 1965-1971
(1991) Tomlinson, Sally Anne
From 1965 to 1967, members of the Haight-Ashbury community in San Francisco formed a set of ideals which today are considered representative of Sixties youth. Their opinions on the American military involvement in Vietnam and their resistance to authority in general, along with the upheaval of society which their lifestyle represented, created a model for youthful emulation across the country. The San Franciscans organized get-togethers where experimental music, dance movement, color, and the effects of psychotropic drugs were celebrated. Even before the term "hippie" had been coined, the San Francisco dance concerts were the cradle of hippie society. And the posters created to advertise the early gatherings helped to shape and to promote the interests and ideals of this social group. The initial series of rock posters did not terminate with the abandonment of the Haight-Ashbury community in 1967, however. In 1968, concert poster imagery reflected the head-on collision between the hippie ideals of peace and love and the reality of increasing violence in America. The posters created between 1968 and 1971 reflect the mood of despair during the transitional period between "flower power" and the time of facing issues which were shaking the foundations of American society. A careful examination of the course of rock poster art from 1965 to 1971 reveals that the later posters acknowledged young people's awareness of widespread drug abuse and other disturbing issues, such as environmental pollution, which were just then coming to light. For the last two decades, the posters which were identified with the outdated hippie subculture and with the era which immediately followed, were, like the cultural periods they represented, largely forgotten. More recently, however, authors and media representatives have turned their attention to the Sixties decade. As a result, our fascination with the personalities and with the music of that period is being rekindled. More than nostalgia, our looking back has involved a re-evaluation of the idealistic philosophy which was then so prevalent. Since the Haight-Ashbury community is an integral part of that decade's history, enthusiasm for it and for the early concert posters is also on the rise. The recent inclusion of the so-called "psychedelic" posters in several books on poster art is evidence that their impact on the history of modern poster art is beginning to be evaluated.
Ottoman architecture in the Hungarian province
(2002) Szabo, Csenge Imola
This thesis focuses on Ottoman architectural traditions and their application in the Hungarian province in the sixteenth and seventeenth centuries. Ottoman architectural styles appeared in Hungary, throughout the Balkans, a region that was already under Ottoman rule. By presenting the Ottoman architectural structures that have survived in Hungary, a Christian country, this thesis aims to underscore the importance of preserving the cultural heritage of a country no matter what the racial or religious traditions may be. By using Ottoman, modern Turkish, and Hungarian sources, in addition to other European and North American sources, this paper presents the history, construction, and significance of the Ottoman monuments, and their place in a Christian cultural environment. My intent is to make this information available to a broader readership, and to advance knowledge in the field of Hungarian Ottoman architecture.
The art of Alex Janvier : a blend of Euroamerican and North American Indian art traditions
(1988) Swallow, Derek Robert
The art of the Chipewyan Indian, Alex Janvier, bridges the Euroamerican and North American Indian art traditions. In order to determine the precise influence of each tradition, the primary focus of this thesis is an analysis of both Janvier's role as an artist and also how his art compares in style, and function to modern Euroamerican and Chipewyan art. The specific Indian and Euroamerican artists, art instructors, and styles which helped mold Janvier's style are examined. In addition, the Eurocanadian influences which modified the art and culture of the Chipewyan, helping set the stage for the creation of Janvier's art, are reviewed. Janvier' s art amalgamates the Indian and the Euroamerican traditions, for he has lived, worked, and has been educated on Indian reservations as well as in the towns and cities of Canada. The Indian influence is manifest mostly through his art style which is similar to Indian beadwork in terms of compositions and forms. Janvier also includes within his art elements reminiscent of those contained in birch bark container decoration. Like Chipewyan beadworkers, of the late 19th and early 20th centuries, Janvier's style changed little through most of his career. However, his mainly Eurocanadian education and art training had a major impact on his art. Janvier approached art-making from a modern Euroamerican perspective and his art style was partly influenced by the forms and compositions of the modern art masters Kandinsky, Klee, and Miro. He assumed the role of the "anti-establishment" artist and like many Euroamerican artists his work focuses on personal experiences, ecological themes and other modern political and social issues.
The image of the clown in expressionist painting
(1981) Stubbs, Sally
Epigraph: "As old as recorded history, found among primitive tribes and in sophisticated societies, the clown has always been a profound emblem to men of their own condition . . . The clown is of interest because he proposes profound problems about ourselves and about the very nature of reality. At first , he seems merely a creature of the stage, hired to amuse us, separated safely from us by the footlights of the frame; then suddenly the frame has disappeared and he is us, or we are he." Throughout history the clown has amused, saddened, and consistently intrigued mankind . This fascination extended, naturally, to many artists who derive d inspiration from these buffoons whose ridiculous, incongruously wily, and/or pathetic antics so aptly paralleled those of humanity. This figure was often portrayed in its element the Commedia, the streets, the music halls, and the circus, but Antoine Watteau (1684- 1721) was the first to make consistent use of the image in an expressive context; Watteau discerned and developed the tragic potential of a particular clown--Pierrot--to convey unique and personal concerns. Later artists, e.g., Honoré Daumier (1808-1879) and Pablo Picasso (1881-1973) realized the expressive possibilities inherent in the clown and adopted it as a symbol of personal beliefs, desires, and fears; social commentary; and humanistic philosophy. With the advent of expressionism as a dominant artistic force in the early twentieth century the clown, among other images, e.g., the mask, attained increased popularity and, thus, relevance as a symbol indicative of humanity--its foibles, frailties, and potential. Georges Rouault. (1871-1957), Max Beckmann (1884-1950), and Abraham Rattner (1895-1978), the expressionist masters examined in this thesis, each produced several fascinating clown studies. In these images, often characterized by complex and enigmatic iconography, the artists have illustrated concerns which, while often highly personal, extend easily, and apparently intentionally, to encompass actions, situations, relationships, and sentiments relevant to all humanity.
Stylistic, iconographic and political aspects of the St. Petersburg Bourse
(1979) Stevenson, Christine McKee

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