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Masters Theses

Painting

1980

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Photo Realism, Maureen A. Howe Jan 1980

Photo Realism, Maureen A. Howe

Masters Theses

Photo Realism is the principal term used throughout this paper. I use this specific terminology, Photo Realism, so as not to confuse it with Super Realism, Sharp Focus Realism or Hard Edge Realism. True, many of these Realisms all mean the impecable clarity of subject matter, but, for my purpose, I am continually using Photo Realism to make it evident that a photograph was rendered to achieve an end result.

Using predominantly contemporary Photo Realists' beliefs and opinions as my main resource material, comparisons were made of their unique styles so as to present the various uses of the photograph ...


Expressionism For Painting Sports, John T. Graves Jan 1980

Expressionism For Painting Sports, John T. Graves

Masters Theses

This thesis is an attempt to show that the Expressionistic style of painting lends itself to the Sports figure. The action and dynamic movement of the athlete can be easily portrayed by the slashing strokes and boldly suggested forms of Expressionism. By painting in this style the "feelings and emotions" of an event may be sensed. Sometimes the form is obviously exaggerated to emphasize this emotional quality or mood.

This paper discusses and illustrates the work of several sports artists who use Expressionism for their style of work. Leroy Neiman is probably the most famous of these, having worked for ...


The Work Of Brian Sullan In Relation To Contemporary Non-Objective Painting, 1979-1980, Brian Sullan Jan 1980

The Work Of Brian Sullan In Relation To Contemporary Non-Objective Painting, 1979-1980, Brian Sullan

Masters Theses

The purpose of this thesis is to explain my current body of work in terms of both personal interpretation and by means of relating it to ideas associated with a modern philosophy in painting that focuses on the relationships between the formal elements of line, space, color, and form, called "non-objective" painting. Painting becomes a statement about itself and the way in which paint is manipulated over a given surface. By disregarding traditional concepts of painting, the artist comes into contact with his emotions in a more direct way.

The first half of the paper is devoted to an explanation ...