This study examines the development of Edward Larrabee Barnes's design concepts for the Dallas Museum of Art, from preliminary concepts and program statements by Director Harry Parker and Dallas Museum trustees, through initial planning and architect selection, to site selection, the Program and Space Study, Barnes's early conceptual plans, and his Dallas Arts District master planning. Influences on Barnes's work and his career development leading to the Dallas commission, his most ambitious museum to date, are examined. Discussion and documentation of design development is based on schematic studies, presentation drawings, models, and trustees' minutes. Design changes during construction and all phases of expansion planning are also discussed. The conclusion summarizes historical influences on the design and Barnes's fulfillment of program concepts.

I am interested, both from a personal standpoint and from a cultural perspective, in pursuing the meaning of thes eimages singly and as they combine with others. In turn, the results, I hope, will lead to the discovery of more images for my image encyclopedia. After this introduction subsequent chapters will explore my reasons for the combinations of images I choose and will place the finished drawings in their contemporary art context. My goal will be to note the changing meanings of the objects as they interact serially.

The purpose of this thesis is to discuss the stylistic development of the Italian architect Aldo Rossi from Modern to Post-Modern design. A summary of the Modern architectural movement is presented along with an analysis of the developments in Post-Modern architecture since 1960. The influence of Italian culture on Rossi's career is discussed through a brief survey of Ancient Roman archetypal motifs and Italian architecture of the early 20th century. Several key buildings proposed or constructed by Rossi from 1960-1990 are discussed based on his concepts of analogy, typology, morphology and rationalism.

The problem of this thesis is to determine the evolution of the architectural design of the Kimbell Art Museum building from its origin as a concept to its realization in the completed structure. This study has two objectives.The first is to discover the process by which the physical museum building cam into being. The second is to trace the conceptual evolution of the Kimbell Art Museum building. This problem has three parts, each of which has been made the subject of a chapter. The first, "Concept Development," sets forth the pre-design concepts of the founder, the director, and the architect. The second, "Design Development," establishes a chronological sequence of architectural design presentations. The third, the "Conclusion," compares the pre-design concepts to the finished building.

This project was an investigation into the specific influences upon my art produced by my living in Riyadh, Saudi Arabia for two years from August 1976 through August 1978. Initially, I had to make a major psychological and environmental adjustment. This period of adjustment, referred to as culture shock, was a time of personal confusion about the differences between the American and the Arabian cultures. I characterized my state of mind during this period as a psychological numbness and confusion. This adjustment period altered my interests so that the drawings I had done before I left the United States no longer held their original significance and new interests began to appear. I hope to identify some of the changes that occurred by examining and comparing my earlier drawings with those completed since my return.

The problem discusses the influence that tea trade between England and China may have had on eighteenth-century English garden architecture and aesthetics. Five chapters include an historical overview of non-Oriental influences on the garden, the relationship between Britain and China, the evolution of the tea trade, the motifs and decoration of tea wares, and a summary with conclusions. Conclusions reached were that tea was responsible for importation of porcelains in Britain, architectural structures in the garden were inspired by scenes on tea wares, predilection for Chinese motifs in the minds of the English may have resulted from their drinking tea, and it seems probable that affected garden aesthetics but there is no conclusive evidence.

This study is a report of the results of an investigation into the extent to which native materials were used in the antebellum buildings of Harrison County, Texas; the way in which they were used; and the aesthetic implications of their use. It was hoped that this research might fill a gap in the art and architectural history of Texas, since nothing has been written on this specific subject except a few articles and unpublished papers dealing with certain houses individually or with log construction in general.

The purpose of this study was to investigate the depiction of rainbows in the art of Frederic Church in relation to mid-nineteenth century scientific developments in order to determine Church's reliance on contemporary concerns with light and color. An examination of four Church paintings with rainbows, three oil sketches, and nearly a dozen pencil drawings shows that Church's rainbow art represents a response to mid-century cultural values connecting science and art. Changes within Church's rainbow depictions occurred as the artist explored the visual representations of light, synthesizing the scientific knowledge of light and color available to him, and reconciling that information with the requirements of art.

The problem of this thesis is to determine just what part the museum is playing in the cultural development of Texas. This study presents a detailed investigation of the exhibitions offered by four of Texas' major art museums for the period from 1940-1950. Each of the museums will be discussed separately and then compared so that an over-all picture can be achieved.

The general purpose of this investigation is to examine the values of print making as compared with drawing and painting in their respective relationships as a part of the junior-high-school art program. The specific purposes of the investigation are: 1. To determine the values which are common to both the print-making arts and the drawing-painting arts. 2. To discover the values which are unique in the print-making arts. 3. To determine which of the print-making processes belong in the junior high school. 4. To recommend the grade placement and limitations of print-making for the junior high school. A conservative general conclusion, based upon objective evidence, can safely be drawn to the effect that in all phases of the learning experiences print making was found to be as valuable as painting and drawing. Its values were compared with respect to specific art development, to general educational growth, to socialization, and to character training.

The bibliography will comprise books, current magazines, annuals, and bulletins available in the North Texas State College Library. Some publications from other libraries in the area will also be included; namely, the Texas Woman's University Library, Denton; the Dallas Public Library; the Fort Worth Public Library; and Southwestern Medical College Library, Dallas. The bibliography is intended primarily for freshmen majoring in art, although the publications will be of value also to those students minoring in art.

The purpose of this investigation, therefore, was to compare the viewer's perceptual response to the small-scale constructions with that of the large-scale ones. Specific questions of concern were: 1. What is my response as a viewer to these constructions when built as maquettes, with regard to the following specific concerns? a. Formal visual elements (i.e., line, shape, value, etc.). b. The presence of a sense of threat. c. Visual reference to a theatrical set. d. A make-believe, or childlike quality. e. Any physical or technical problems encountered. 2. What is my response as a viewer to the constructions when built on a large, or approximately life-sized scale, with regard to the same specific concerns listed above?

This thesis investigates how the visual arts philosophy promulgated in the 1960s by the Second Vatican Council of Roman Catholic Churches is manifested by commissioned artists for a particular parish. The primary data were the new sanctuary and the artworks, which include stained glass by Lyle Novinski, a carved-glass Marian Shrine by Claire Wing, bronze Stations of the Cross by Heri Bartscht, and wooden medallions depicting two saints carved by Don Schol. This paper reviews pertinent ecclesiastical doctrines along with interpretational publications, physically and iconographically describes the sanctuary and artwork, and considers aspects of the relationship between patron churches and the artists they commission.

The problem of this study was to compare the expectations of the interior design profession regarding entry level requirements of new graduates of Southwest Texas State University and the present interior design curriculum at Southwest Texas State University. Questionnaires seeking information regarding skills and knowledge thought necessary for graduating interior design students were sent to professional interior designers in the South Texas area. Simple descriptive statistics were used to analyze the responses. The survey of the interior designers practicing in the South Texas areas conducted in this needs assessment of the Interior Design program at Southwest Texas State University supports giving consideration to the development of new courses or content revision of existing interior design courses offered at Southwest Texas State University.

Each year there is an increase in the number of art students who transfer art credits from Texas junior colleges to North Texas State University. The lack of standardization in the junior college art courses indicated an area of investigation in which some procedures might be suggested in order to secure greater continuity and unity between the art curricula of the Texas junior colleges and that of North Texas State University.

This paper is to present a student interior design laboratory manual for Perspective Drawing 134. A mechanical and freehand approach to the grid method of perspective is used. Chapter I reviews the significance of the problem, definitions of terms of perspective, data sources and method of procedure. Chanter II explains a brief overview of perspective from primitive man to its present use in interior design. Chapter III reviews the general principles of perspective. Chapter IV presents the grid method to one-point and two-point perspective, both mechanical and freehand approaches. Included are step by step illustrations and explanations of the method. Chapter V summarizes the intent of this study.

The writer, an art teacher of some experience, has felt the need for more easily accessible and more definite and tangible information concerning printed material which could be used by the junior-high-school art teacher in carrying on a program of creative art experiences. This research, "An Evaluation of Art Publications", was made in an attempt to meet this need.

This study purposes to serve as an introduction to the Colonial ironwork to be found in Guanajuato City.

The purpose of this problem was to investigate the advantages and limitations in the use of blacksmithing techniques combined with the construction techniques of arc welding and the use of power tools to construct large outdoor sculpture. Specific questions will be asked to determine the suitability of this method of working. The questions are: 1. Can blacksmithing techniques be used in the construction of large outdoor sculpture? a. what specific techniques are appropriate? b. Will some techniques be used more than others? 2. Will these techniques be used more than others? 2. Will these techniques take an inordinate amount of time and make them impractical for the artist to use?

For three years the writer has worked with children from a section in Mineral Wells, Texas, in which home environments were unnecessarily bad. They offered none of the wholesome stimuli for growth and development that homes should give. The houses were drab and cheerless, and the grounds were neglected, often grown up in weeds or cluttered with trash. Through its members, made up of sixth and seventh grade children of Travis Elementary School and including children from the affected homes, plans and procedures were formulated for improving homes, and the interest and cooperation of the parents were secured in extending the improvements over the area. By this plan the writer hoped that life might be made more satisfying for these people as a result of improved surroundings.

In developing the study, the writer has attempted to devise a method whereby high-school students may gain an understanding of certain trends in modern abstract and non-objective painting.

The problem of this investigation is determining the artists, places, dates, subjects, and types of frescoes done in nineteenth century England. Through research in nineteenth and twentieth century materials, this information was disclosed. Included in this paper are discussions of the artists, chronology, the fresco projects, stylistic considerations, reasons fro using fresco, and fresco's relevance to the subjects of the paintings. The differences in the technical aspects of fresco and its adaptations are explored. Included in this paper are discussions of the artists, chronology, the fresco projects, stylistic considerations, reasons for using fresco, and fresco's relevance to the subjects of the paintings. It is concluded that the fresco revival was a part of the prevalent Romantic mood of the period and a wish to make England an important nation in the art world's eyes. The revival, however, failed. Its fresco scenes crumbled off the walls that supported them.

The purpose of this study has been to create a simplified yet reliable list of literary works pertinent to medieval art; one that will serve the greatest usefulness to the largest number of students.

This study is concerned with describing the changing concepts of space utilization in Japanese house design and the cultural forces producing the changes. Sources of information include literature spanning approximately one hundred years, a Japanese student of interior design, and-the Japanese Trade Commission in Dallas, Texas. A description of concepts of space design that were very stable for centuries in the Japanese house. The changes in architecture following World War II, and a contemporary house design by a noted Japanese architect are related to concurrent religious, philosophical, and economic forces. The influence of western culture upon Japanese life-style and design solutions to space problems is either indicated or inferred.