With this project I explored pottery forms of Bernard Leach and his apprentices. By exploring this work, it was my intention to expand my forms and address the following questions: 1. What Leach pottery forms were most compatible with my work methods and decoration? 2. What significant changes could I make to these Leach forms to adapt them to my own style of working character? 3. Would producing these adapted forms in two different clay bodies and using different methods to reflect landscape imagery lead to a style that I could call my own?

This study follows the progress of 11 elementary students who exhibited similar language-arts deficiencies and were treated with traditional and non-traditional language-arts remediation methods. Non-traditional methods were exclusively Discipline-Based Art Education (DBAE) lessons that required students to observe, talk about, and write about art images using a DBAE framework. Portfolios maintained by the students during one complete school year included writings and art production. Writings were marked using a color-coding system developed for the research project and designed to track growth in art cognition. Interviews for affective measure and the Test of Non-Verbal Intelligence, Edition II were administered as pre- and post-tests. Evidence indicated art understanding improved as cognition in language arts improved. Change in attitudes toward art and artists demonstrated a slight positive change. No significant difference was detected in non-verbal intelligence.

I plan to investigate the fusion of predominantly linear marks with solidly rendered forms to create a sense of space, depth, and texture within a series of paintings. The investigation will seek to answer a four part problem related to the creation of a series of paintings. The four part problem will explore whether or not the combined use of line, textural surface information, and buried images will have the potential to operate as an expressive agent in painting. This investigation will also address the series as a whole by evaluating the evolutionary process which may occur when color and solidly rendered forms are re-introduced to the canvas and combined with the primarily linear marks.

The objective of this study was to obtain an aesthetically pleasing surface, by altering the surface to enhance a particular form. I incorporated plant and landscape imagery from my past experiences.

The esthetic issue of the metamorphosis of forms is the basis for my work. In parallel configurations natural form, abstract form, and the extrasensory world of light energy forms move together to form a field of force. The unfolding of the destiny of forms against such an energy field makes a resolution of forms bounded by rhythm and organic shape. The energy field that is the product of forms captures the relationship among natural form, abstract form and light forms of the spirit. The radiation of meaning is the focus of the combination of these forms in a field of force. The problem becomes then the definition of meaning in the multiple declaration of three forms of representation with the treatment of the extrasensory world of light energy as the articulation of an element of perception.

This thesis examines the portraiture of Elisabeth Vigée-Lebrun and Adélaide Labille-Guiard within the context of their time. Analysis of specific portraits in American collections is provided, along with an examination of their careers: early education, Academic Royale membership, Salon exhibitions, and the French Revolution. Discussion includes the artists' opposing stylistic heritages, as well as the influences of their patronage, the French art academy and art criticism. This study finds that Salon critics compared their paintings, but not with the intention of creating a bitter personal and professional rivalry between them as presumed by some twentieth-century art historians. This thesis concludes those critics simply addressed their opposing artistic styles and that no such rivalry existed.

The purpose of this thesis is to analyze and discuss the changing ways in which the visual art of heraldiy was perceived by the feudal aristocracy of twelfth- and thirteenth-century England. It shows how the aristocracy evolved from a military class to a courtly, chivalric class, and how this change affected art and culture. The shifts in the perceptions of heraldry reflect this important social development of the knightly class.

The duality of repulsion and attraction is present in all aspects of life, neither existing exclusive of the other. This awareness has manifested itself in the need for creating work addressing the complexity of this duality and finding a balance that relates to human experience. The purpose of his problem in lieu of thesis was to combine my concept of the attractive, present in my early graduate work, with explorations on the concept of repulsion, to heighten the visual and psychological dynamic of the whole.

This thesis examines the imagery of Jose Guadalupe Posada in the context of the Mexican Revolution with particular reference to the corrido as a major manifestation of Mexican culture. Particular emphasis is given to three corridos: "La Cucaracha," "La Valentina," and "La Adelita." An investigation of Posada's background, style, and technique places him in the tradition of Mexican art. Using examples of works by Posada which illustrate Mexico's history, culture, and politics, this thesis puts Posada into the climate of the Porfiriato and Revolutionary Mexico. After a brief introduction to the corrido, a stylistic analysis of each image, research into the background of the song and subject matter, and comments on the music draw together the concepts of image, music, and text.

It was those problems and possibilities I wished to explore in my problem in lieu of thesis. While the simple, geometric images were very satisfying to that part of myself that craves order and rationality, it was all too easy to make work that was dull and uninteresting. I wanted to find a way to produce rich, sensuous, engaging work using only simple geometric forms.

My work has developed to the point where it exists within the grey area between painting and sculpture. These hybrid works necessitate the transition from creating objects to that work singularly to installations of various works that operate as a whole. The purpose of this study is to identify successful methods of making this transition through the use of the computer. The computer should provide new strategies to integrate sculpture and painting into a hybrid form.

I wanted to see if I could affect the "unknown" by attempting to steer the subconscious. I kept a journal of events going on in my life, dreams, therapy sessions, or ideas for songs or short stories. In my studio, I kept a running list of ideas for titles of songs, stories, or paintings. In addition to this, I recorded narrative or metaphoric ideas that the paintings presented on the search for the final painting.

The content of my work focused on examining the relationship between certain elements of nature and of human beings and was also based on the question of what true life is. The woodcut process - combined with the other printing techniques such as intaglio, collagraph, and monotype - was adopted as a potentially successful medium for conveying the content of the work. Overlay printing techniques and repeated textures were utilized as well.