"Self- Portrait" – A Study of the 'Self':

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ILS. 25: ILS. 26: ILS. 27: Mixed Media Structure and Organisation The Transparent Portrait IV 220 227 Epilogue ,P. 5
List C – Figures of the Findings Number Heading page App. P. Chapter 6: The 'Book Object' Fig. 1: 4 Items - The 'Book-Object' – Outer Appearance – 'Super – Finding' (A1 (a)) Fig. 2: 5 Items – The 'Book- Object' - Inner Shape's – 'Super – Finding' (A1 (a)) Fig. 3: 4 Items – 'Object - Book' – Findings from 'Data Group' (B2 ) Fig. 4 (a, b, c, d): Fig. 5 (a, b): 13 Items - Installation- Sarah's Tent - Findings from 'Data Group' (A1 (b)) 5 Items – Exhibition and Installations – Findings from 'Data Group' (A1 (c)) and (D1) Fig. 6: 1 Painting - The Three Graces – Findings from 'Data Group' (B1(c)) Chapter 7: 'Image and Writing' Fig. 7: 6 Paintings – Image and Writing: Content Units – Findings from 'Data Group' (A1 (a)) Fig. 8 (a,b): 5 Paintings – Image and original Printed Text – Findings from 'Data Group' (A1 (a)) Fig. 9 (a): 4 Images – details of Fig.8 Fig. 9 (b) : 2 Items – details Fig. 10 (a,b): 12 Paintings – Image Combined with Printed and Handwriting Texts - Findings from 'Data Group' (A1(a)) Fig. 10 (b): 1 Item– Portrait covered with Handwriting – Detail – Finding from 'Data Group' (A1 (a)) Fig. 10 (c): 2 items - Letters and Tears – Findings from 'Data Group' (A1 (a)) Fig. 10 (d): 2 Items –Words Detached from Text – Detail - Findings from 'Data Group' (a1 (a)) IV 99 100 111 114 - 116 121 123 129- 130 134 App.2: 5 - 13 136 138 140 App.2 p. 16 -18 147 App.2: p. 19 143 App.2: p.14
Page 1 and 2: Anglia Ruskin University "Self- Por
Page 3 and 4: Chapter 4: The Language of Art 4.1
Page 5 and 6: Chapter 12: Summary and conclusions
Page 7 and 8: List A - Diagrams and Tables Part I
Page 9: Number ILS. 1: ILS. 2: ILS. 3: ILS.
Page 13 and 14: Fig. 23: 6 Paintings - Black and Wh
Page 15 and 16: Fig. 57(a, b, c): 18 Items - Detail
Page 17 and 18: Abstract The research proposes a mo
Page 19 and 20: diligent work. Sometimes, sick and
Page 21 and 22: PART I INTRODUCTORY: THE 'SELF' AND
Page 23 and 24: Bruce, 1999; Lurie, 2006). Rembrand
Page 25 and 26: Artists who chose painting self - p
Page 27 and 28: aise hidden entities from the inner
Page 29 and 30: esearcher, leads this approach and
Page 31 and 32: Introduction; Chapter 3 - Designing
Page 33 and 34: definition of Hohenstein 'art knowl
Page 35 and 36: individuals. This phenomenon appear
Page 37 and 38: and it will be what the interpreter
Page 39 and 40: treating the patient but as part of
Page 41 and 42: taking place. This study researches
Page 43 and 44: Chadwick 1998, 2001; West, 2004). T
Page 45 and 46: self-portrait, therefore I investig
Page 47 and 48: 2.5 Creation and Investigation 2.5.
Page 49 and 50: Primary thought processes exert a d
Page 51 and 52: I have chosen an approach that allo
Page 53 and 54: 2. Keeping doing this consistently
Page 55 and 56: Diagram 1: The Disciplines involved
Page 57 and 58: through a work of art, about a work
Page 59 and 60: 3. Subject investigates object (fil
Page 61 and 62:
3.4.3 The Research Object In painti
Page 63 and 64:
'What' is the methodology needed to
Page 65 and 66:
In this chapter: 4.1 Origins 4.2 Fo
Page 67 and 68:
that grants a tangible shape to fee
Page 69 and 70:
Extending this understanding of the
Page 71 and 72:
Mukarovsky (1983) explains that sur
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4.2.3 Single, Primary Artistic Mean
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Other single artistic means, omitte
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McNiff (1998), an art therapist, cr
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In this chapter: Chapter 5: METHODO
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My creative activity developed in a
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Dilthey is the most prominent repre
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5.2.3 Supplementary Research Approa
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designate the boundaries of time, p
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2. Meetings and conversations with
Page 91 and 92:
Table 1: Data Classification into O
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5.4.2 Intertextuality Intertextuali
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need translocations and metaphors.
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Para-textuality - Table 2: The Comp
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5.5 Truth, Validity and Reliability
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5.5.3 Reliability and Validity The
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process. The limits of the research
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Is it appropriate for a researcher
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classified and managed. I discuss i
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PART Il THE INQUIRY: THE PORTRAIT A
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Diagram 8a (1): Style and Genre - G
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Diagram 8b (3): Visual Values - Org
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How the Findings (Paintings) are di
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In this chapter: 6.1 Super-Finding:
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3 1 99 2 4
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6.2 The Artist's 'Act of Choice' Th
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the researcher to identify these co
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people perceived the thundering and
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say that the artist chooses water a
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6.5 Extra-Textual Affinity - Conver
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Fig. 3: 4 Items - 'Object - Book' -
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(c) From Object to Installation - S
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115
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This installation was created from
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hundreds, and all these together cr
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1 1 3 121 2 2 Installation Exhibiti
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123
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Summary The study’s single 'case
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In this chapter: 7.1 Image and Writ
Page 149 and 150:
3 1 129 2 4
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7.2 Image and Writing in Art The en
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When the artist was occupied with h
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(a) Encounter - "One on One, One ne
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Fig.8 (1) reinforces this for one e
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The random two sentences marked by
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These findings present several situ
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7.4.1 Dialogue - Texts Developing f
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7.5 Images with Handwriting text on
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. 1 2 147
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1 2 The researcher differentiates b
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5 1 9 2 6 10 In these images newspa
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Summary Ils 4: Image with Headings
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In this chapter: Introductory Summa
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Introductory Summary Having in Chap
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1 13 5 2 6 159 3 15 7 4
Page 181 and 182:
1 4 1 2 5 161 2 3 6
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enewal. Netzer (2004) points at the
Page 185 and 186:
The strategy of the artist to keep
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1 1 1 2 2 167 3 3
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The penetration of this colour symb
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The colours infiltrating the black
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Fig. 27, shows the use of a variety
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The image of the bird that appeared
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8.4.1 Findings Kandinsky considered
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1 3 1 1 179 2 4 3 2
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8.5 Dominant Colour - Red ILS. 12:
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1 5 13 9 2 14 3 6 7 10 183 15 11 4
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8.5.2 Red - Symbol and Significance
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8.6.1 The Findings Fig. 42: 7 Paint
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8.6.2. Yellow - Symbol and signific
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Regarding the dialogue between colo
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sounds. The two colours polarity of
Page 215 and 216:
In the encounter of the elementary
Page 217 and 218:
Red & Green 1 3 1 2 5 2 197 1 3 6 4
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is expressed in a number of finding
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In this chapter: 9.1 Drawing in Cha
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The use of this technique and these
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The dialogue between line and Tone
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8 Line encounters Tone of Colour in
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1 5 1 2 209 4
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lurred everything. I painted thin,
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A repeating pattern is a form of ex
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At first glance such patterns (Fig.
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The technique of aquarelle is based
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This technique introduces the subje
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The terms 'collage' and 'assemblage
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When the artist chooses a book as t
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225
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Chapter 10: STRUCTURE AND ORGANISAT
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10.1.1 Findings and Interpretation
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Fig. 75 (a, b): 6 Paintings - Part
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This finding shows a partial face.
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9 8 235 10
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Here, disassembly takes another for
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Zemach (1992) summarises it thus: "
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SUMMARY TO THE INQUIRY 1 The chapte
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I did not look for one absolute, un
Page 265 and 266:
Foreword This research study has tw
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Diag.11 The 'Chain of Observations'
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11.1 Split 1: Unification and Separ
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The split that occurs at the 'mirro
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hint or as Lacan (in Vanier, 2003)
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The 'subject' is the person facing
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profane ('Book Object', Readymade',
Page 279 and 280:
Lacan (in Vanier, 2003) defines it
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Diag. 14: Split 3: ' Ego' and 'Self
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'Ego' and 'self' join and collabora
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history in a continuous process of
Page 287 and 288:
differentiates between the individu
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11.7 Ego Designs a Portrait-Myth Ar
Page 291 and 292:
Chapter 12: THESIS SUMMARY Conclusi
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4. My research broadens the concept
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Chapter 13: IMPLEMENTATION AND VALI
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interdisciplinary intersubjective,
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As a creator and researcher I went
Page 301 and 302:
the potential of the 'ego'. In my r
Page 303 and 304:
13.2.2 The 'Artistic - Activity' Th
Page 305 and 306:
In this way he gives meaning to the
Page 307 and 308:
The participants in the workshop ha
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the human being (Frankl, 1981). The
Page 311 and 312:
create works of art of universal va
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My journals divulge that there were
Page 315 and 316:
During the course of the research I
Page 317 and 318:
References Abraham, A. (1989) The V
Page 319 and 320:
At: http://www.qualitative-research
Page 321 and 322:
Diamant, A. ( 2005) The Red Tent. (
Page 323 and 324:
Environment Journal. (Vol.5 22-24).
Page 325 and 326:
Klein, M. (1975) The Writings of Me
Page 327 and 328:
McNiff, S. (1998) Art-Based Researc
Page 329 and 330:
Reinhart, T. (2000) From Cubism to
Page 331 and 332:
Shoshani, A. (2002) Experience and
Page 333 and 334:
Van Gogh, V. (1992) Letters to Theo
Page 335 and 336:
App. No List D - Table of Appendice
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2. To develop a method of analysis
Page 339 and 340:
The complete process has been docum
Page 341 and 342:
The research to examine the hidden
Page 343 and 344:
paintbrush for a painting that will
Page 345 and 346:
The research examines their signifi
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This sentence can serve as a headin
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1 2 Again, Dadaism peeks out of the
Page 351 and 352:
The words and sentences randomly ma
Page 353 and 354:
And the fisherman’s heart beats.
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formative struggle takes place betw
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Fig. 13(b): - 1 item - Handwriting
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is hinting about reflection, self o
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Here, too, the curled and uniform w
Page 363 and 364:
directing decision. Naturally, some
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8 1 3 6 9 30 4 7 2 5
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Fig. 12(c): 1 Item - Letters and Bi
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Thus, handwriting has led the reade
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ecomes a work of art about self-por
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Here too the artist uses greyish: n
Page 375 and 376:
According to ancient beliefs, a lun
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Appendix 3 8.1 Black and White PART
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But maybe a lot of power is hiding
Page 381 and 382:
suddenly, I understand that these a
Page 383 and 384:
The artist has discussed the issue
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everything. Nothing interests me [
Page 387 and 388:
he came near the sun and the water
Page 389 and 390:
Lips are sensual organs that transm
Page 391 and 392:
In her journal the artist writes: "
Page 393 and 394:
Fig. 40 combines two strong symbols
Page 395 and 396:
Athena `represent "independence and
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this work through. The yellow expre
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. Fig. 36: 1 Detail - Finding from
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5 The dialogue sharpens and now the
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13 12 1 71 14
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The word leaf appears in different
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constrictions and work freely and t
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(A2 (a) 8.8.04). On both sides of t
Page 411 and 412:
parts (images, shapes, parts of the
Page 413 and 414:
16 Fig. 55 shows some of the portra
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The assumption is that when the art
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drawing process, as part of the act
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A phenomenon of an eye poking out a
Page 421 and 422:
Avrahami leads and guides: “As op
Page 423 and 424:
The study pointed at the situations
Page 425 and 426:
Elsewhere the study represents each
Page 427 and 428:
dipped into the 'dying lake', dived
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of this study ― a core and key fi
Page 431 and 432:
Fig. 59 (4) depicts a figure reflec
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101
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Appendix 5 Chapter 10: ORGANISATION
Page 437 and 438:
The above three findings describe a
Page 439 and 440:
In an analogy to Jung's approach (1
Page 441 and 442:
The findings from group 2D - from t
Page 443 and 444:
Fig. 83: 4 Paintings - Dismantling
Page 445 and 446:
Fig. 85: 6 Paintings - Transformati
Page 447 and 448:
Fig. 87: 6 Paintings -Transformatio
Page 449 and 450:
Glossary 1 Act of Separation: A cri
Page 451:
Single, Primary Formative artistic
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