Visual Arts
Permanent URI for this collectionhttps://hdl.handle.net/11274/15810
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Item An art history curriculum guide for seventh and eighth grades(1992-08) Garber, Jeana; Calabrese, John A.; Copeland, BettyThis study provided a curriculum for teaching art history to seventh and eighth grade students based on the principles of discipline-based art education (DBAE). The student included historical facts, descriptions and the application of DBAE. The curriculum included a series of lesson plans which contained objectives, audio visual lists, and student expectations and evaluations. Each lesson also contained questions, or statements in the four domains of DBAE: art history, art criticism, art aesthetics and art production. The lessons represented structured, sequential learning as required by DBAE philosophy. The lessons were written according to the junior high level of needs and interests.Item The art of the early Christian church: Its function as a teaching device(1976-05) Glover, Barbara Black; Casey, Warren; Rios, John; Miller, J. BroughItem A brief study of the affective influences of selected electronic stimuli on the third and fourth grade art students of Lakehill Preparatory School(8/31/1981) Gennaro, Irene Peters; Rios, John; Casey, Warren; Miller, J. BroughItem Concealing and revealing: Visions of transcendence in Jan Van Eyck and Mark Rothko(12/31/2015) Winters, Monica Marcellus; Calabrese, John A.; Perez, Jana; Parsons, ColbyJan Van Eyck in The Ghent Altarpiece and Mark Rothko in his late abstractions sought to bridge the gap between the visible, palpable earthly world and the invisible, unknowable spiritual world to create an experience of transcendence for their viewers. Researching the critical and analytical data documenting these artists revealed that the two artists differ in the type of transcendence they intended to produce. Van Eyck sought religious transcendence, while Rothko sought a secular transcendence. The interpretation of the works of these artists demonstrate that while both use symbolism, color, space, and light to convey their intentions, Van Eyck directly connects his religious imagery to Catholic dogma, seeking to provide his viewers with the comfort of God’s salvation. Rothko, using abstraction to convey existential and global considerations, uses a secular approach that eliminates a connection to a specific religion, taking his viewers inward to find universal significance.Item Contemporary book illustration as a fine art(5/31/1981) Cooper, Carol WilliamsItem Contemporary ceramics in the United States.(8/21/1944) Cook, Mary Hensley; Marshall, Mary; Lacy, Mattie LeeItem Design and execution of the front doors for the Chapel at the Texas State College for Women(1940-08) Drummond, Carmeta; Lemmon, ThetisItem Design elements used in high Victorian houses(5/31/1975) Bertine, Dorothy W.,; Rios, John; Casey, Warren; Shaver, ShirleeItem Designing dental clinics for children(1982-08) Hegland, Sally Ann; Nancy, Davis; Rios, John F.; Miller, J. BroughItem Determining ceramic application methods incorporating powdered metals enamel pigments and selected clay surfaces(5/31/1981) Williams, Floretha Richards; Miller, J. Brough; Miller, J. BroughItem Developing a study guide for printmaking on the middle school level(1982-12) Sherrill, Rhonda Ann; Rios, John; Stuckenbruck, Corky; Green, Alfred E.Item Development of a curriculum model in printmaking for a high school art education program(8/31/1980) Barnard, Donna FlanaganItem The evolution of the enigmatic sheela-na-gig(5/30/2006) Rose, Carol; Calabrese, John A.Sheela-na-gigs are stone carvings of the female nude posed in a manner that displays and emphasizes the genitalia. These carvings appear in the Romanesque sculpture of France, Spain, England, and Ireland. This thesis explores the issues of scholarship that surround these enigmatic figures, addressing the lack of scholarly attention given by 19th century antiquarians who regarded her aggressive sexuality in negative terms. The author explores, as well as questions, modem scholarship that delves into the figure's origins,placement, purpose, location, and variations of form. This thesis supports the belief of a continental origin for the figure, retracing its evolutionary steps from continental Europe to England, then transferred to Ireland by Anglo-Norman Romanesque masons and sculptors, after the Norman Invasion in the twelfth century. An analysis of theories concerning the origins of the figure will be included, in order to provide evidence of the existence of sheela-na-gig prototypes, or archetypes. This study also examines the connection of this figure to the medieval church, as oppositional concepts of good and evil, and of life, death, and rebirth, are brought together in direct relationship to one another. These carvings have acquired numerous interpretations throughout Irish oral and written history, interpretations such as pagan fertility symbols, apotropaic figures, Celtic goddesses, images of saintly or sinful women interpreted in either a positive or a negative way, and as symbolic manifestations of pagan Celtic witchcraft as suggested at Kilpeck Church in England. By following the sheela-na-gig symbol through a series of changing interpretations, both architecturally and scholarly, beginning first with its Irish antiquarian discovery, then by examining its possible ancient European beginnings, then next to the twelfth, and finally the twenty-first century, I argue that the meaning of this symbolic image evolved in terms of its changing audience and usage throughout history. The meaning of the sheela-na-gig symbol evolved within each local culture concerned with issues relating to women, or the feminine aspects of God. It continues to invite people to make their own interpretations even today.Item Experimentation with selected developmental fabrication and joining methods for integrating wooden shapes with fire-clay art forms(1982-05) Briggs, Geraldine ReedItem Experiments in producing wheel-thrown and/or hand-built ceramic forms from white and colored porcelain clay bodies(8/31/1976) Keller, Kathleen Daley; Miller, J. Brough; Smith, Donald; Foster, JohnItem An exploration of the development and use of colored clay in Raku firing(6/21/1977) Haley, Michael; Miller, J. Brough; Smith, DonaldItem Fifteen contemporary designers of jewelry and hollow ware: USA 1952(1952-08) Rafford, Ruth Bachman; Lemmon, ThetisItem Gerhard Richter's paintings of terrorists: The artist confronts history(2013-05) Cope, Gail; Calabrese, John A.This thesis addresses these questions: Why did Gerhard Richter choose to paint terrorism, a complex, political, and polarizing theme? How does he convey such a subject, deal with the controversy generated, get the paintings exhibited, and find a permanent home for them? Acclaimed artist Gerhard Richter painted fifteen scenes of the violent Baader-Meinhof Gang that terrorized West Germany from 1968 to 1977. He named his amorphous views of the terrorists and their deaths simply, October 18, 1977, the date the gang leaders died in their prison cells. Research included visits to the German gallery that first exhibited the paintings, the MOMA in New York City, which owns them, and the Tate Modern in London. The author had access to original material in museum archives. Richter was drawn to the theme in part from his experiences growing up in Nazi Germany and may have been seeking validation as a painter of history.Item A handbook for weaving and textile design for grades eight and nine(8/31/1981) Garver, Melaine Lya
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