國立虎尾科技大學 |

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

紀錄類型:	書目-語言資料,手稿 : Monograph/item
正題名/作者:	American artists' frames :/
其他題名:	Paintings, environments, and viewers, 1860-1920.
作者:	Older, Caroline Doswell.
面頁冊數:	1 online resource (173 pages)
附註:	Source: Dissertations Abstracts International, Volume: 69-08, Section: A.
Contained By:	Dissertations Abstracts International69-08A.
標題:	Art history. -
電子資源:	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.
LDR:03904ntm a22004217 4500 001 1147051
005 20240819061942.5
006 m o d
007 cr bn ---uuuuu
008 250605s2007 xx obm 000 0 eng d
020 $a 9780549281757
035 $a (MiAaPQ)AAI3285840
035 $a AAI3285840
040 $a MiAaPQ $b eng $c MiAaPQ $d NTU
100 1 $a Older, Caroline Doswell. $3 1472659
245 1 0 $a American artists' frames : $b Paintings, environments, and viewers, 1860-1920.
264 0 $c 2007
300 $a 1 online resource (173 pages)
336 $a text $b txt $2 rdacontent
337 $a computer $b c $2 rdamedia
338 $a online resource $b cr $2 rdacarrier
500 $a Source: Dissertations Abstracts International, Volume: 69-08, Section: A.
500 $a Publisher info.: Dissertation/Thesis.
500 $a Advisor: Robertson, E. Bruce.
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.
533 $a Electronic reproduction. $b Ann Arbor, Mich. : $c ProQuest, $d 2024
538 $a Mode of access: World Wide Web
650 4 $a Art history. $3 1180038
653 $a American art
653 $a Artists
653 $a Artists' frames
653 $a Frame theory
653 $a Frames
653 $a Nineteenth-century American painting
653 $a Paintings
653 $a Viewers
655 7 $a Electronic books. $2 local $3 554714
690 $a 0377
710 2 $a University of California, Santa Barbara. $3 1187910
710 2 $a ProQuest Information and Learning Co. $3 1178819
773 0 $t Dissertations Abstracts International $g 69-08A.
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3285840 $z click for full text (PQDT)