This thesis investigates how the interior of the Morton H. Meyerson Symphony Center of Dallas accommodates the three groups which use the space: the patron, the musicians, and the administration. Following the Draft Brief of 1981 prepared by the Dallas Symphony Association's Concert Hall Building Committee, each area is discussed as to what was actually built and what concerns were met. The primary data were the symphony center and interviews with I.M. Pei, architect; Russell Johnson, acoustician of the concert hall; Charles Young, associate of Pei, Cobb, Freed & Associates, interior architect of the concert hall; Carolyn Miller, Trisha Wilson & Associates, designer of the Green Room, Richard Trimble, designer of the musicians' areas, and Joe Pereira, designer of the Administrative area.

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.

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.

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.

The purpose of this study is to examine I. M. Pei and his partner Harry Cobb's downtown Dallas architecture within the context of their overall stylistic development. This paper explores the structure of five buildings within the framework of the city, and addresses their possible influence on the city's future architectural direction. The thesis is divided into six chapters. Chapter I introduces and states the problem as it discusses the fabric of Dallas architecture. Chapter II outlines a brief biography of I. M. Pei, looking to those who have influenced him, while discussing the key public buildings of his stylistic development. Chapter III is devoted to Pei's first structure in the city, the Dallas Municipal Administration Center. Chapter IV explores the concepts of his planned Morton H. Meyerson Symphony Center. Chapter V outlines a brief biography and focuses on the work of Harry N. Cobb: One Dallas Centre, ARCO Tower, and the Allied Bank Tower. Chapter VI summarizes the contributions of Pei and Cobb by placing them within the context of twentieth century architecture, and pointing out their specific achievements with their additions to the fabric of Dallas architecture.

The energy dynamics of creativity are the metaphysical foundations upon which the theory of holistic aesthetics was built. Traditional inquiry into creativity has been concerned with the isolated issues of either the process, technique, product, creator, or environment in which creation occurs. The aesthetics presented herein provide the art educator with an alternate approach and attitude. The absolute presupposition from which the theory develops states that "there is naught but energy, for God is life." The resulting model which incorporates the rationale of the physics of light is designed to illustrate relationships between the creator and the energies of creativity. Educational applications and significance of the model are described in terms of light and color; these practical implications lend themselves to empirical testing.

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 thesis concerns the utility of including the art of hand lettering in a curriculum of a university advertising art program. Data secured from 155 questionnaires sent to 266 advertising firms in five states were analyzed by simple descriptive statistics including frequency counts and percentages. Two hypotheses were examined, and it is concluded that hand lettering is still needed in advertising art and should be taught in university art programs.

This study examines the county courthouses of Arkansas with the purpose of discovering certain qualities which they possess as architecture. Stylistic influences are identified, as are influential architects, periods of building activity, and characteristics of age and condition. An historical overview provides information concerning nationwide trends in public architecture over the last century, allowing observations as to the effects which national and regional tastes had on Arkansas' county courthouse builders. It is concluded that Arkansas' county courthouses reflect, to some extent, the stylistic preferences and backwardness of southern and rural courthouses, respectively. The Georgian Revival is identified as the most popular style for courthouses still in use, although the most active building period is found to be the 1930s, when WPA design specifications dominated Arkansas courthouse architecture.

The purpose of this study was to determine if there was any difference between beginning high school art students at Calhoun High School, Port Lavaca, Texas, who had had a junior high art experience and those who had no such experience in regard to their art information, art attitudes, and ability to produce quality art work. The Eisner Art Information and Art Attitude Inventories and three art performance tasks were administered to the population. Those with junior high art experience scored significantly higher on the art information inventory and art performance tasks than those without. The data support the positive effect of a junior high art experience on beginning high school art students.

Art educators and classroom teachers in the elementary schools are confronted with the challenge of helping children look critically at works of art and develop written and/or verbal skills to communicate their findings. It was the purpose of this study to determine the effectiveness of the conceptual learning technique of semantic webbing in teaching art criticism in the elementary classroom. The author revealed a significant difference of opinions between two sample groups and similarities between the variables of frequency of use, and familiarity of the webbing technique and its effectiveness in the classroom. The sample groups consist of elementary classroom teachers and art specialists who work with kindergarten and first grade children.

A major figure to emerge in the history of American photography is Carlotta Corpron (1901-1987), who taught art at Texas Woman's University in Denton, Texas from 1935-1968. The rediscovery of her abstract images created during the 1940s reflects the growing recognition of the experimental photography at the New Bauhaus in Chicago from 1937-1946. Corpron's abstract photographs were stimulated by her interaction with Lazlo Moholy-Nagy and Gyorgy Kepes. Corpron was an innovator in the development of abstract photography in the United States. This thesis connects her work to that of Moholy-Nagy and Gyorgy Kepes as well as other major figures in American photography of the twentieth century.

Two curricular needs exist for the elementary art classroom: multi-cultural lessons which are customized to address North Texas ethnicities, and art history materials for early grades, whether taught by art teachers or regular classroom teachers. This thesis addresses both of these concerns by developing lesson plans to meet the needs, and executing an evaluative study with North Texas art and regular classroom teachers of kindergarten and first grade. The teachers represent four districts, including rural, suburban, and urban demographic populations. Findings address time limitations for public school teachers, cultural exchange differences between demographic groups, and differences between presentation of the units by regular classroom teachers versus art teachers.

In my Problem in Lieu of Thesis I explored the use of analogy in my work. I searched for ways to heighten the difference or distance between the imagery within an analogous relationship and yet maintain meaningful similarities or relationships. An analogy, for the purpose of this paper is defined as the following: "a similarity or likeness between things in some circumstances or effects, when the things are otherwise entirely different."

The questions answered by this investigation are as follows: 1. Which silkscreens and stencils will work in screening flat and three-dimensional objects? 2. Which mediums and coloring agents will survive a glaze firing to produce an acceptable image? 3. How can the image be modified by screening during the different stages of a ceramic piece (wet, green, bisque, glazed)? 4. What glazes and glaze applications will be compatible? 5. Generally, what is the relationship between the image and the object?

The object of this problem in lieu of thesis has been the exploration and identification of the retained two dimensional design idiom in the sculptural format of my work. (By this, I am referring to the lateral, planar quality which often continues as part of my designs.)

In this investigation I use the term perception as Arthur Comb and Donald Snygg do when they state that perception is any differentiation the individual is capable of making in his personal field. Perception has to do with the organization one gives to his world. Behavior and learning are products of perceiving. Immanuel Kant said: "We see things not as they are but as we are." During this effort to organize my world I realized that I was concerned with myself as an experiencing individual. I felt that one is built out of his experiences and that the best vantage point for understanding behavior is from the internal frame of reference of the individual himself. I was taking a somewhat phenomenological approach to my problem.

For the purpose of this study I intended to use Majolica to allow me both more flexibility in the physical act of decorating my ceramic work, as well as the opportunity for the expansion of my selection of symbols. During this investigation the following questions were addressed: 1. Was the color range attainable with Majolica relevant to my work? 2. Was my chosen imagery complemented by the special properties of Majolica. 3. Did the textural possibilities of Majolica benefit my work?

This report documents the changes in my work as a ceramic artist over a two-year period, imposed upon, and inspired by, the use of a propane torch on the surface of the clay vessel. The purpose of this study is two-fold: (1) to provide information about this particular tool for methods of survace decoration; (2) to provide information about a subjective thought process directed by properties in this particular tool.

As my creative project, I decided to explore the possibilities for expression of rhythmic life-growth patterns in a variety of abstracted multiple forms. The work was planned to investigate the following questions: 1. What forms can be used to communicate the idea of repetitive, rhythmic or seasonal life or growth patterns? 2. What size/scale is effective in communicating the universal, infinite character of these patterns? 3. What formats or types of presentation are the most effective? 4. How is the overall impact of the work affected by changes in size and form? 5. How do changes in the work affect my responses to it, and what subsequent directions result in the work?

My research explored the possibilities of achieving the raku halo through variations of the standard engobe (pronounced on-gobe) and oxide formulas, using ceramic vessels as media. This included alterations of the ingredients, consistencies, and methods of application. Throughout the research, a journal was kept including individual information about research pieces, a statement of results, and my reaction to those effects. From this information, an analysis of the completed vessels was compiled.

The introduction to printmaking in most universities and college directs students to learn the basic techniques of intaglio using zinc. This continues throughout one's academic career, with little emphasis placed on experimentation with other metals. During my undergraduate and graduate studies I etched with zinc. I had wanted to use aluminium and magnesium in order to explore the similar and dissimilar qualities of the three.

The ancient artist's influences can still be felt in today's craftsmen. For example, the contemporary weaver Sheila Hick's prayer rugs are an assimulation of the textile techniques of ancient Peru, Persia, and India, and the macramed forms of the contemporary Spanish artist, Aurelis Munoz, are suggestive of the woven huts of many primitive cultures. Because of this influence upon the current investigation, the evolvement of weaving and its techniques, as well as the three-dimensional techniques of basketry, in different parts of the world and in different historical periods are reviewed briefly.

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.