911 research outputs found
Lyrics and lays,
No full textAttributed to William Henry Abbott, Jr., by Halkett and Laing; also attributed to Frederick F. Wyman.Mode of access: Internet
The soft-focus lens and Anglo-American pictorialism
No full textElectronic version excludes illustrations for which permission has not been granted by the rights holderThe history, practice and aesthetic of the soft focus lens in photography is elucidated and developed from its earliest statements of need to the current time with a particular emphasis on its role in the development of the Pictorialist movement. Using William Crawford's concept of photographic 'syntax', the use of the soft focus lens is explored as an example of how technology shapes style.
A detailed study of the soft focus lenses from the earliest forms to the present is presented, enumerating the core properties of pinhole, early experimental and commercial soft focus lenses. This was researched via published texts in period journals, advertising, private correspondence, interviews, and the lenses themselves. The author conducted a wide range of in-studio experiments with both period and contemporary soft focus lenses to evaluate their character and distinct features, as well as to validate source material.
Nodal points of this history and development are explored in the critical debate between the diffuse and sharp photographic image, beginning with the competition between the calotype and daguerreotype. The role of George Davison's The Old Farmstead is presented as well as the invention of the first modern soft focus lens, the Dallmeyer-Bergheim, and its function in the development of the popular Pictorialist lens, the Pinkham & Smith Semi-Achromatic. The trajectory of the soft focus lens is plotted against the Pictorialist movement, noting the correlation betwixt them, and the modern renaissance of soft focus lenses and the diffuse aesthetic.
This thesis presents a unique history of photography modeled around the determining character of technology and the interdependency of syntax, style and art
Losely House, Surrey (Proof)
No full textLithotint by Frederick William Hulme (1816-1884), depicting a lady welcoming two women to her house while a man with a seath and a wheelborrow is cutting grass.
Published in London November 1, 1845 by Chapman & Hall. Artist proof. Originally produced for "The Baronial Halls, and Picturesque Edifices of England", London 1848, author; Samuel Carter Hall.Mr JA van Tilburg bequeathed his "prentenkabinet" of over 10 000 graphic works to the University of PretoriaFrederick William Hulme (22 October 1816 – 14 November 1884) was an English landscape painter and illustrator. Hulme was born in Swinton in Yorkshire, the son of Jesse Hulme and Elizabeth Trewolla. His mother was a porcelain painter and it was from her that he received his first lessons. He first exhibited in 1841 in Birmingham. Hulme is known for his landscape paintings of Surrey and Wales. Hulme died in Kensington, London in 1884.Jacob van Tilburgab201
Charlton House, Wilts (Proof)
No full textLithotint by Frederick William Hulme (1816-1884), depicting a house with two women watching three children playing outside. Original drawing by Charles James Richardson FSA (1806-1871). Published in London May 1, 1846 by Chapman & Hall, Artist proof. Originally produced for "The Baronial Halls, and Picturesque Edifices of England", London 1848, author; Sameul Carter Hall.Mr JA van Tilburg bequeathed his "prentenkabinet" of over 10 000 graphic works to the University of PretoriaJacob van Tilburgab201
Charlecote, Warwickshire (Proof)
No full textLithotint by Frederick William Hulme (1816-1884), depicting a mansion with a gate and a clock tower with a man watching eleven deer from the gate house.
Original drawing by James Grey Jackson Esq (1768-1840). Published in London September 1 1845 by Chapman & Hall. Artist Proof. Originally produced for "The Baronial Halls, and Picturesque Edifices of England", London 1848. author: Samuel Carter Hall.Mr JA van Tilburg bequeathed his "prentenkabinet" of over 10 000 graphic works to the University of PretoriaJacob van Tilburgab201
Site plan review in the Commonwealth of Massachusetts : authoritative abuse or administrative method for regulation
No full textThesis (S.M.)--Massachusetts Institute of Technology, Dept. of Architecture, 2004.This electronic version was submitted by the student author. The certified thesis is available in the Institute Archives and Special Collections.Includes bibliographical references (leaves 69-70).by Charles Frederick Leatherbee.S.M
Dooley's Ferry: The Archaeology of a Civilian Community in Wartime
No full textWarfare and conflict are familiar topics to anthropologists, but it is only recently that anthropological archaeologists moved to create a discrete specialization, known as Conflict Archaeology. Practitioners now actively pursue research in a number of different areas, such as battlefields, fortifications, and troop encampments. These advances throw into sharp relief areas that need greater focus. This dissertation addresses one of these shortcomings by focusing on the home front by studying Dooley's Ferry, a hamlet that once lay on the banks of the Red River, in southwest Arkansas. Before the American Civil War, it was a node in the commodity chains that bound the British Atlantic World together through the production and exchange of cotton for finished goods from the United Kingdom and northeast United States.;The war drastically altered the community in different ways. The site lost community members to military service, displacement, and emancipation. Those who remained were forced to find new ways to cope with the deprivation brought about by the collapse of antebellum trade networks that supplied them with food and finished goods. The residents also faced increasingly complex and ambiguous relationships to government and the Confederate Army.;For four years, the College of William & Mary and the Arkansas Archeological Survey investigated the archaeology of Dooley's Ferry using multiple excavation and remote sensing techniques. The results characterized the distribution of historic residences at the site, established their temporal affiliations, and allowed archaeologists to draw start to understand how we may study the home front archaeology and add substantially to an under-studied aspect of Arkansas's past.AnthropologyDoctor of Philosophy (Ph.D.
The yagé aesthetic of William Burroughs: the publication and development of his work 1953-1965
No full textPhDMy concern in this thesis is to show that a reconstruction of the publishing history of
the work of William Burroughs offers a new, critical perspective on his experiments
with psychoactive substances and their connection to his developing practice.
I begin with an exploration of the publication of The Yage Letters (1963) and Naked
Lunch (1959), and reveal how the complexities of their publishing histories shaped
their critical reception. I examine the legal defence of Naked Lunch as it developed
from the Big Table Post Office hearing through to the 1965 Boston trial and
demonstrate the degree to which censorship came to define the published text. The
legal defence of Naked Lunch, as it was incorporated into the Grove publication,
emphasised the issue of opiate addiction. The way in which Burroughs’ 1953 letters to
Allen Ginsberg were reworked as The Yage Letters did much to conceal the
significance of yagé for Burroughs’ later work. Together, these publishing histories
have obscured the relationship between his use of psychoactive substances and his
evolving aesthetic.
At the same time many of Burroughs’ most experimental - and important - works
appeared only in small, ephemeral magazines. His adoption of avant-garde strategies
such as collaboration and collage and his dedication to multimedia experimentation
with the non-chemical alteration of consciousness made conventional book
publication problematic or unsuitable. These experiments in aesthetic production, I
argue, are central to our understanding of Burroughs. His main published writings
must be re-evaluated as one element in this collage of multimedia activities.
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I argue that Burroughs’ experiences with yagé, mescaline and dimethyltryptamine
exerted an influence on his shift to experimentalism in the early 1960s, which sought
to replicate the experience of these altered states of consciousness. That this is so is
evident from a study of two collections of correspondence - Burroughs’ letters to
Ginsberg held at Columbia University Library and his letters to Brion Gysin in the
William S. Burroughs Papers held at the New York Public Library. My reading of
these letters forms an important component of my argument, working to reveal what
the conventional ‘published’ Burroughs serves to conceal.Arts and Humanities research Board.
Queen Mary University of London English Department
funding naked Lunch @ 50 conference in Pari
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The twelve large colour prints of William Blake: a study on techniques, materials and context
No full textThe aim of this thesis is to study in entirety the group of large colour prints which William Blake made between 1795 and 1805. The series of prints represents the single most important and complete development of Blake’s skill as an innovative printmaker. Although they include some of Blake’s best-known images, they have not been studied before in their entirety or from the point of view of analysing the techniques and methods Blake had used. My study will show how Blake executed these truly impressive prints in terms of materials, method and motives. The first half of the thesis deals with the materialistic aspects of Blake’s colour printing. In chapter one tracing the controversial two-pull discussion to the root, I will make clear the focus points as well as revealing the early tradition of experimental criticism on Blake’s colour printing method. Focusing on two important critics, W. Graham Robertson and Ruthven Todd, and the periods they lived, I attempt to reveal the role they played in a wider context. Also I show how the tradition of Blake’s art was inherited directly through the Ancients to the Pre-Raphaelite Brotherhood, which leads to Robertson and Todd. In the second chapter I deal with the development of Blake’s colour printing experiments. It is obvious that the Twelve Large Colour Prints were produced as a result of Blake’s series of colour printing experiments, starting with monocolour simple prints, going through the illuminated books progressing with more colours and higher skills
Iowa History and Culture : A Bibliography of Materials Published Between 1952 and 1986, 1989
No full textThis bibliography was compiled by two reference librarians, Patricia Dawson and David Hudson with the goal of making it easier of tracking down material on Iowa history and culture. This supplements the Iowa History Reference Guide published in 1952 by William Petersen
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