A Lost History: Tracking the Innovations of Discarded Visions
نام ساير پديدآوران
Richard, Ann-Marie
وضعیت نشر و پخش و غیره
نام ناشر، پخش کننده و غيره
Sotheby's Institute of Art - New York
تاریخ نشرو بخش و غیره
2020
مشخصات ظاهری
نام خاص و کميت اثر
85
یادداشتهای مربوط به پایان نامه ها
جزئيات پايان نامه و نوع درجه آن
M.A.
کسي که مدرک را اعطا کرده
Sotheby's Institute of Art - New York
امتياز متن
2020
یادداشتهای مربوط به خلاصه یا چکیده
متن يادداشت
By considering the multiple aspects of a picture frame, this thesis paper explores the relationship between the frame and the painting it surrounds. Functioning to both preserve and present a painting, the frame is often a concern of curators, dealer restorers, and institutions. Though neglected, the painters themselves had opinions about the framing of their work. This research centers on the classification of a picture frame as either fine or decorative art. First, the metaphysical and marketing ramifications of the frame will be considered, followed by a concise history of the frame that will focus on the nineteenth century Impressionist painters. Further, specific artists and the frames they preferred will be analyzed, including James McNeil Whistler, George Seurat, Claude Monet, Vincent Van Gogh, Piet Mondrian, Robert Ryman. Quotes from contemporary interviews with prominent figures in the field are included throughout, leading to a discussion about the possibilities of restoration and the responsibilities of museums in relation to public presentation and education. Although it seems that frames are largely considered decorative, this exploration shows that there is potential for further appreciation and analysis of frames as fine art.
موضوع (اسم عام یاعبارت اسمی عام)
موضوع مستند نشده
Artist
موضوع مستند نشده
Display
موضوع مستند نشده
Education
موضوع مستند نشده
Frames
موضوع مستند نشده
Museums
موضوع مستند نشده
Painting
نام شخص به منزله سر شناسه - (مسئولیت معنوی درجه اول )