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American artists' frames : = Paintings, environments, and viewers, 1860-1920.

Record Type:	Language materials, manuscript : Monograph/item
Title/Author:	American artists' frames :/
Reminder of title:	Paintings, environments, and viewers, 1860-1920.
Author:	Older, Caroline Doswell.
Description:	1 online resource (173 pages)
Notes:	Source: Dissertations Abstracts International, Volume: 69-08, Section: A.
Contained By:	Dissertations Abstracts International69-08A.
Subject:	Art history. -
Online resource:	click for full text (PQDT)
ISBN:	9780549281757

American artists' frames : = Paintings, environments, and viewers, 1860-1920.
Older, Caroline Doswell.

American artists' frames :Paintings, environments, and viewers, 1860-1920. - 1 online resource (173 pages)

Source: Dissertations Abstracts International, Volume: 69-08, Section: A.

Thesis (Ph.D.)--University of California, Santa Barbara, 2007.

Includes bibliographical references

A frame that surrounds a painting has two practical functions, which are to physically protect and aesthetically enhance a work of art. On a more conceptual level, frames perform three theoretical functions based on their positions relative to the painting, environment, and viewer. This dissertation addresses the question of how a frame's mediatory function among the spaces belonging to the painting, environment, and viewer determines the manner in which a painting is experienced. Between 1860 and 1920, a contingency of American artists influenced by their European colleagues and instructors, developed an interest in frame design. As most did not write about their frames to the same degree that they wrote about their paintings, this dissertation focuses on those American artists with the largest and most accessible archives, such as William Merritt Chase (1849-1916), Thomas Wilmer Dewing (1851-1938), Thomas Eakins (1844-1916), Childe Hassam (1859-1935), Robert Henri (1865-1929), Willard Metcalf (1858-1925), Charles Prendergast (1863-1948), Maurice Prendergast (1858-1924), John Singer Sargent (1856-1925), Abbott Handerson Thayer (1849-1921), James McNeill Whistler (1834-1903), and Stanford White (1853-1906). Research about these artists' frames was derived from their archives, period photographs from exhibitions and memorial exhibitions, period articles about current frame styles and framing practices, the Peter A. Juley and Son Collection of photography, and, most importantly, original frames. The data about American artists' frames assembled through research helps to locate a frame's position with regard to the painting, environment, and viewer. When a frame merges with a painting, it calls attention to the painting's materiality as a two-dimensional crafted object. When a frame merges with a painting's environment it instead calls attention to the painted illusion. Finally, a frame can conceptually define and give meaning to a painting's subject matter when it interacts with the viewer. If an artist chooses or designs a frame for his painting, pinpointing frame function is critical to understanding how he intends for the viewer to approach the painting. By focusing analysis on the frame and its relationship to the painting, environment, and viewer, it is possible to access visual signals that are as relevant today as they were in the late nineteenth and early twentieth centuries.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2024

Mode of access: World Wide Web

ISBN: 9780549281757Subjects--Topical Terms:

1180038
Art history.
Subjects--Index Terms:

American artIndex Terms--Genre/Form:

554714
Electronic books.

American artists' frames : = Paintings, environments, and viewers, 1860-1920.
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500 $a Source: Dissertations Abstracts International, Volume: 69-08, Section: A.
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502 $a Thesis (Ph.D.)--University of California, Santa Barbara, 2007.
504 $a Includes bibliographical references
520 $a A frame that surrounds a painting has two practical functions, which are to physically protect and aesthetically enhance a work of art. On a more conceptual level, frames perform three theoretical functions based on their positions relative to the painting, environment, and viewer. This dissertation addresses the question of how a frame's mediatory function among the spaces belonging to the painting, environment, and viewer determines the manner in which a painting is experienced. Between 1860 and 1920, a contingency of American artists influenced by their European colleagues and instructors, developed an interest in frame design. As most did not write about their frames to the same degree that they wrote about their paintings, this dissertation focuses on those American artists with the largest and most accessible archives, such as William Merritt Chase (1849-1916), Thomas Wilmer Dewing (1851-1938), Thomas Eakins (1844-1916), Childe Hassam (1859-1935), Robert Henri (1865-1929), Willard Metcalf (1858-1925), Charles Prendergast (1863-1948), Maurice Prendergast (1858-1924), John Singer Sargent (1856-1925), Abbott Handerson Thayer (1849-1921), James McNeill Whistler (1834-1903), and Stanford White (1853-1906). Research about these artists' frames was derived from their archives, period photographs from exhibitions and memorial exhibitions, period articles about current frame styles and framing practices, the Peter A. Juley and Son Collection of photography, and, most importantly, original frames. The data about American artists' frames assembled through research helps to locate a frame's position with regard to the painting, environment, and viewer. When a frame merges with a painting, it calls attention to the painting's materiality as a two-dimensional crafted object. When a frame merges with a painting's environment it instead calls attention to the painted illusion. Finally, a frame can conceptually define and give meaning to a painting's subject matter when it interacts with the viewer. If an artist chooses or designs a frame for his painting, pinpointing frame function is critical to understanding how he intends for the viewer to approach the painting. By focusing analysis on the frame and its relationship to the painting, environment, and viewer, it is possible to access visual signals that are as relevant today as they were in the late nineteenth and early twentieth centuries.
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653 $a Artists
653 $a Artists' frames
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653 $a Frames
653 $a Nineteenth-century American painting
653 $a Paintings
653 $a Viewers
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710 2 $a University of California, Santa Barbara. $3 1187910
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