Decorative aspects of reality with reference to sociological painting
- Authors: Clark, Dorothy
- Date: 1974
- Subjects: Decorative arts
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2474 , http://hdl.handle.net/10962/d1010501
- Description: The writer could not blame the reader for finding the title to this essay couched in somewhat academic terms. It must be said immediately that the title is a fake -- or that the following essay is a fake; the title has pretensions to the academic -- the essay has not. All academicism no longer has an independent existence -- it operates by formulae, is mechanical, uses faked sensations and vicarious experience and borrows its tricks and themes from a mature, established culture close at hand. This ' culture's life's blood is looted, given new twists, watered down and served up in academic terms. For these reasons, academicism and Kitsch are the same -- both change according to style and yet are always the same; both are the epitome of all that is spurious in our time. So, academicism could be said to be the 'stuffed shirt-front' for Kitsch. Preamble, p. 1.
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- Authors: Clark, Dorothy
- Date: 1974
- Subjects: Decorative arts
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2474 , http://hdl.handle.net/10962/d1010501
- Description: The writer could not blame the reader for finding the title to this essay couched in somewhat academic terms. It must be said immediately that the title is a fake -- or that the following essay is a fake; the title has pretensions to the academic -- the essay has not. All academicism no longer has an independent existence -- it operates by formulae, is mechanical, uses faked sensations and vicarious experience and borrows its tricks and themes from a mature, established culture close at hand. This ' culture's life's blood is looted, given new twists, watered down and served up in academic terms. For these reasons, academicism and Kitsch are the same -- both change according to style and yet are always the same; both are the epitome of all that is spurious in our time. So, academicism could be said to be the 'stuffed shirt-front' for Kitsch. Preamble, p. 1.
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Rhodesian African art, 1857-1974
- Authors: Des Fontaine, Fayne
- Date: 1974
- Subjects: Art, African Art -- Zimbabwe
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2481 , http://hdl.handle.net/10962/d1011136
- Description: ART is life, and life is for living. This is the essential function of Mankind. Everything interrelates. African life and thought are inseparable. Art is an implement of power; it bridges the gap between Man and his Gods, and Man and Nature. The ability to understand art, does not depend on the ability to see and appreciate but to understand the culture of the people, to know the past). When considering AFRICAN ART, one can be sure that the ART OF RHODESIA is certainly the last to come to one's mind; that is, if one excludes the Prehistoric Artist of Rhodesia and the ART of the Zimbabwian culture, and concentrates on ART executed after the PIONEER PERIOD (circa 1857) to the turn of the century. Comparatively little has been written on the aspect of local art, and when it bas, it is primarily concerned with SHONA SCULPTURE. Rhodesian art is primarily functional, and the range of materials as well as the range of techniques are equally vast. The art of sculpture and carving particularly in wood, is a well-known characteristic of Africa. Rhodesia, however, does not offer such a vast selection of traditional art today, whether in wood, stone or metal. The carvers in Rhodesia, unlike those of some African States have long since downed their tools as there are no longer the rituals that at one time inspired the artist. These rituals have almost died out and the Kings that were his patrons have been out of power for centuries. The destruction of traditional African values is inevitable because of cultural change, white civilization, and more recently, ex:ploi ta tion has forced the traditional carver to become a carpenter or to join a co-operative in order to provide Tourist Art. Intro., p. 1.
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- Authors: Des Fontaine, Fayne
- Date: 1974
- Subjects: Art, African Art -- Zimbabwe
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2481 , http://hdl.handle.net/10962/d1011136
- Description: ART is life, and life is for living. This is the essential function of Mankind. Everything interrelates. African life and thought are inseparable. Art is an implement of power; it bridges the gap between Man and his Gods, and Man and Nature. The ability to understand art, does not depend on the ability to see and appreciate but to understand the culture of the people, to know the past). When considering AFRICAN ART, one can be sure that the ART OF RHODESIA is certainly the last to come to one's mind; that is, if one excludes the Prehistoric Artist of Rhodesia and the ART of the Zimbabwian culture, and concentrates on ART executed after the PIONEER PERIOD (circa 1857) to the turn of the century. Comparatively little has been written on the aspect of local art, and when it bas, it is primarily concerned with SHONA SCULPTURE. Rhodesian art is primarily functional, and the range of materials as well as the range of techniques are equally vast. The art of sculpture and carving particularly in wood, is a well-known characteristic of Africa. Rhodesia, however, does not offer such a vast selection of traditional art today, whether in wood, stone or metal. The carvers in Rhodesia, unlike those of some African States have long since downed their tools as there are no longer the rituals that at one time inspired the artist. These rituals have almost died out and the Kings that were his patrons have been out of power for centuries. The destruction of traditional African values is inevitable because of cultural change, white civilization, and more recently, ex:ploi ta tion has forced the traditional carver to become a carpenter or to join a co-operative in order to provide Tourist Art. Intro., p. 1.
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The animal as a sacred symbol in prehistoric art
- Van Heerden, Johannes Lodewicus
- Authors: Van Heerden, Johannes Lodewicus
- Date: 1974
- Subjects: Art, Prehistoric Animals in art Animals, Mythical, in art
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2449 , http://hdl.handle.net/10962/d1007286
- Description: From Thesis: Why the animal as our point of departure in this discussion of prehistoric art, and why as a sacred symbol? Prehistoric art stretched over an immensely long period, from the first evidence of the activities of Neanderthal tribes during the Mousterian period, ± 35,000 B.C., to the end of the Magdalenian, ± 8,000 B.C. We are dealing with a time-span of nearly 30,000 years, during which a strictly Zoomorphic attitude existed. The animal was the dominant feature. It was constantly used in the decoration of cave walls, on engraved stone slabs, and on all kinds of utilitarian objects.
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- Authors: Van Heerden, Johannes Lodewicus
- Date: 1974
- Subjects: Art, Prehistoric Animals in art Animals, Mythical, in art
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2449 , http://hdl.handle.net/10962/d1007286
- Description: From Thesis: Why the animal as our point of departure in this discussion of prehistoric art, and why as a sacred symbol? Prehistoric art stretched over an immensely long period, from the first evidence of the activities of Neanderthal tribes during the Mousterian period, ± 35,000 B.C., to the end of the Magdalenian, ± 8,000 B.C. We are dealing with a time-span of nearly 30,000 years, during which a strictly Zoomorphic attitude existed. The animal was the dominant feature. It was constantly used in the decoration of cave walls, on engraved stone slabs, and on all kinds of utilitarian objects.
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The Grahamstown Fine Art Association
- Authors: Cook, J C W
- Date: 1974
- Subjects: Grahamstown Fine Art Association Rhodes University -- History Artists -- South Africa Painters -- South Africa Rhodes University -- School of Art
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2476 , http://hdl.handle.net/10962/d1010601
- Description: When he opened the 24th annual exhibition of students' work on the 1st July, 1927, Professor F.W. Armstrong gave the following account of the beginnings of the Grahamstown School of Art: ... The appointment of a master was the responsibility of Sir Langham Dale, the Superintendent General of Education in the Cape Colony. His choice for the first art master of the Grahamstown School of Art was Mr.W. H. Simpson. Simpson had studied at the South Kensington Museum then at the Royal Academy. During the 1870's he had exhibited in the Royal Academy, at other exhibitions in London, and in the provinces. Intro. p. 1.
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- Authors: Cook, J C W
- Date: 1974
- Subjects: Grahamstown Fine Art Association Rhodes University -- History Artists -- South Africa Painters -- South Africa Rhodes University -- School of Art
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2476 , http://hdl.handle.net/10962/d1010601
- Description: When he opened the 24th annual exhibition of students' work on the 1st July, 1927, Professor F.W. Armstrong gave the following account of the beginnings of the Grahamstown School of Art: ... The appointment of a master was the responsibility of Sir Langham Dale, the Superintendent General of Education in the Cape Colony. His choice for the first art master of the Grahamstown School of Art was Mr.W. H. Simpson. Simpson had studied at the South Kensington Museum then at the Royal Academy. During the 1870's he had exhibited in the Royal Academy, at other exhibitions in London, and in the provinces. Intro. p. 1.
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