This study is devoted to a critical examination of the architectural structure and sculpture of the church of San Cayetano de La Valenciana in Guanajuato, Mexico, concentrating on the ornamentation of the exterior portals and the interior altar retables. This paper traces the development of the Churrigueresque phase within the Baroque period of Mexican religious architecture and analyzes specific application of this style to the church of La Valenciana. Stylistic and iconographic components are discussed and a review of significant literature on this subject is included.

This study examines how Morton Schamberg encapsulated a significant understanding or European Modernism and created its translation into a unique American style of art known as Precisionism. After his formal studies in architecture and painting and his trips to Europe, he did reworkings of Impressionism and Post-Impressionism before creating important modernist works.

The popular image of the West in the nineteenth and early twentieth centuries incorporates radically opposing images: the West is viewed as a Garden of Eden at times, but it is also frequently seen as violent, a land inimical to man. The region both attracted and repelled. Among those attracted were artists who carried back some of the first images of the land. Thomas Moran (1837-1926) became associated quite early with the West because a pair of his paintings of western canyons was purchased by the United States Government.

In 1973 , the citizens of Nebraksa embarked upon the Nebraska I-80 Bicentennial Sculpture Project, which provided large roadside sculptures along Interstate 80. A controversial project, referred to as an outdoor sculpture garden, it was completed in 1976 as a lasting commemoration of America's Bicentennial, The sculptures are interspersed for approximately five hundred miles throughout the state and located on alternate sides of the expressway at roadside rest areas.

The underlying problem of the thesis is elucidating the relationship between the art object and philosophy. The thesis is organized into an introduction and four chapters. The introduction poses the need for a philosophical approach to the art object, and the phenomological method is briefly described. The first chapter defines and describes two basic structures found in the art object. The second chapter probes into the ontological structure of the art object in terms of form and media. The third chapter focuses on the relation of form and media evident in personal art works. The fourth chapter summarizes the content of preceding chapters and describes the relationship between the art object and the phenomological method, and discusses the significance of this relationship to philosophy and mankind.

The thesis advances the name of Raphael Santi, the High Renaissance artist, to be included among the famous and highly esteemed Humanists of the Renaissance period. While the artistic creativity of the Renaissance is widely recognized, the creators have traditionally been viewed as mere craftsmen. In the case of Raphael Santi, his skills as a painter have proven to be a timeless medium for the immortalizing of the elevated thinking and turbulent challenges of the time period. His interests outside of painting, including archaeology and architecture, also offer strong testimony of his Humanist background and pursuits.

In the middle of his career, Arthur Garfield Dove created a smell yet novel body of landscape assemblages. They illustrate Dove's central interest in evoking nature--its motifs and rhythms--through imaginative associations of organic and man-made materials. These works represent Dove's synthesis of contemporary European stylistic and intellectual ideas as well as American philosophies and concerns. They also reflect the influence of Alfred Stieglitz and his circle and the artist Helen Torr, Dove's second wife. This study examines how Dove used a complex interplay of European theory and technique, American ideas and his own nature-based abstract style to create the landscape assemblages, works that are uniquely independent in the history of American art.

This paper is a collection of corrections and related thoughts for Bevil's thesis The Welsh Crwth, Its History and Its Genealogy.

Although the Biennales Internationales de la Tapisserie are widely recognized as important fiber art exhibitions, no history of them has been written. This study endeavors to trace the history of the first through the tenth Lausanne Biennales.

This study is concerned with the history of the Student Use of English examination at North Texas State University in Denton, Texas. Conceived in 1944 and implemented in 1946, the examination serves as a measure to insure that marginal English students demonstrate a minimal proficiency in composition evidenced by a three and a half page essay written in topics related to their major fields.

Drama and theatre have traditionally been dynamic forces in education in England. This study researched drama and theatre in higher and further education at six institutions in England for the purpose of developing the history and current conditions.

The problem addressed in this paper was the appropriateness of fiber, especially in the form of fabric, as an art medium. Relevant statements by crafts makers, philosophers, art critics, and artists were investigated along with historical and contemporary art and craft works.

In the fourteenth century Jacques de Longuyon popularized the theme of the nine worthies in his poem Les Voeux du Paon. Gofrey of Bouillon, Duke of Lower Lorraine and Protector of the Holy Sepulchre, was the last of the Christian Worthies in the poem. In his life and legends he exemplified the medieval world's heroic ideal. His achievement, the recovery of the Holy City for Christianity, was the pinnacle-the crowning glory-for the western world. By examining the historical fact of Godfrey's life and comparing it to legends and artistic renderings of that life, one can learn more about the time during which he lived and the people of which he was a part.

This study was concerned with the description of nine college studio art instructors' aesthetic beliefs as exhibited in personal art style and ranking of aesthetic beliefs, compared to the content of their class critiques. The review of related literature provided a system for analysis and description of art works and aesthetic beliefs in three principal styles or trends: Formal Order, Expression, and Imagination.

This dissertation assesses Leonardo Bruni as an individual in Renaissance Italy, analyzes the general contours of his humanism, and demonstrates the central role played by history in his thought. The sources used include manuscripts and printed editions if Bruni's works, the letters and works of his contemporaries, certain ancient and medieval works, and subsequent scholarship on the subject.