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

More documents

Recommendations

Info

Diag. 8b(2) Visual Values - Materials & Technique Diag. 8b(3) Visual Values – Organization & Structure Diag. 8(C) Images with Contents Chapter 6: The 'Book Object' Diag. 9 The Development and Location of the 'Book Object' in Art PART III Ego Designing Portrait as Myth Chapter 11: Discussion Diag. 10 The Two Axes of the Research Study Diag. 11 The Chain of Observation as Pyramid of Development Diag. 12 Split 1: Unification and Separation Diag. 13 Split 2: Subject and Object Diag. 14 Split 3: 'Ego' and 'Self' 261 III 92 93 93 107 245 247 250 254
Number ILS. 1: ILS. 2: ILS. 3: ILS. 4: ILS. 5: ILS. 6: ILS. 7: ILS. 8: ILS. 9: ILS. 10: ILS. 11: ILS. 12: ILS. 13: ILS. 14: ILS. 15: ILS. 16: ILS. 17: ILS. 18: ILS. 19: ILS. 20: ILS. 21: ILS. 22: ILS. 23: ILS. 24: Partial of the Portrait List B - Illustrations Name 'Book- Object' – Inner Appearance Image and Writing Image with Headings Collage – Image with various texts Black and White - a Black and White - b Black and White and a Trace of Colour Chromatics Variations- a Chromatics Variations- b Dominant Colour – Blue Dominant Colour – Red- a Dominant Colour – Red - b Dominant Colour – Yellow - a Dominant Colour – Yellow - b Contrast – Yellow and Blue Complementarity – Red and Green Mixed Media Drawing – Charcoal and Pencil Dialogue –- Line and Tone of colour - a Dialogue – Lines and Tone of colour - b Repeating Patterns Ancient Cultures Aquarelle III Page Prologue -VI 96 126 153 154 156 163 164 170 175 176 181 185 186 188 190 194 200 203 204 211 214 215 216
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: List A - Diagrams and Tables Part I
Page 11 and 12: List C - Figures of the Findings Nu
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
Page 73 and 74:
4.2.3 Single, Primary Artistic Mean
Page 75 and 76:
Other single artistic means, omitte
Page 77 and 78:
McNiff (1998), an art therapist, cr
Page 79 and 80:
In this chapter: Chapter 5: METHODO
Page 81 and 82:
My creative activity developed in a
Page 83 and 84:
Dilthey is the most prominent repre
Page 85 and 86:
5.2.3 Supplementary Research Approa
Page 87 and 88:
designate the boundaries of time, p
Page 89 and 90:
2. Meetings and conversations with
Page 91 and 92:
Table 1: Data Classification into O
Page 93 and 94:
5.4.2 Intertextuality Intertextuali
Page 95 and 96:
need translocations and metaphors.
Page 97 and 98:
Para-textuality - Table 2: The Comp
Page 99 and 100:
5.5 Truth, Validity and Reliability
Page 101 and 102:
5.5.3 Reliability and Validity The
Page 103 and 104:
process. The limits of the research
Page 105 and 106:
Is it appropriate for a researcher
Page 107 and 108:
classified and managed. I discuss i
Page 109 and 110:
PART Il THE INQUIRY: THE PORTRAIT A
Page 111 and 112:
Diagram 8a (1): Style and Genre - G
Page 113 and 114:
Diagram 8b (3): Visual Values - Org
Page 115 and 116:
How the Findings (Paintings) are di
Page 117 and 118:
In this chapter: 6.1 Super-Finding:
Page 119 and 120:
3 1 99 2 4
Page 121 and 122:
6.2 The Artist's 'Act of Choice' Th
Page 123 and 124:
the researcher to identify these co
Page 125 and 126:
people perceived the thundering and
Page 127 and 128:
say that the artist chooses water a
Page 129 and 130:
6.5 Extra-Textual Affinity - Conver
Page 131 and 132:
Fig. 3: 4 Items - 'Object - Book' -
Page 133 and 134:
(c) From Object to Installation - S
Page 135 and 136:
115
Page 137 and 138:
This installation was created from
Page 139 and 140:
hundreds, and all these together cr
Page 141 and 142:
1 1 3 121 2 2 Installation Exhibiti
Page 143 and 144:
123
Page 145 and 146:
Summary The study’s single 'case
Page 147 and 148:
In this chapter: 7.1 Image and Writ
Page 149 and 150:
3 1 129 2 4
Page 151 and 152:
7.2 Image and Writing in Art The en
Page 153 and 154:
When the artist was occupied with h
Page 155 and 156:
(a) Encounter - "One on One, One ne
Page 157 and 158:
Fig.8 (1) reinforces this for one e
Page 159 and 160:
The random two sentences marked by
Page 161 and 162:
These findings present several situ
Page 163 and 164:
7.4.1 Dialogue - Texts Developing f
Page 165 and 166:
7.5 Images with Handwriting text on
Page 167 and 168:
. 1 2 147
Page 169 and 170:
1 2 The researcher differentiates b
Page 171 and 172:
5 1 9 2 6 10 In these images newspa
Page 173 and 174:
Summary Ils 4: Image with Headings
Page 175 and 176:
In this chapter: Introductory Summa
Page 177 and 178:
Introductory Summary Having in Chap
Page 179 and 180:
1 13 5 2 6 159 3 15 7 4
Page 181 and 182:
1 4 1 2 5 161 2 3 6
Page 183 and 184:
enewal. Netzer (2004) points at the
Page 185 and 186:
The strategy of the artist to keep
Page 187 and 188:
1 1 1 2 2 167 3 3
Page 189 and 190:
The penetration of this colour symb
Page 191 and 192:
The colours infiltrating the black
Page 193 and 194:
Fig. 27, shows the use of a variety
Page 195 and 196:
The image of the bird that appeared
Page 197 and 198:
8.4.1 Findings Kandinsky considered
Page 199 and 200:
1 3 1 1 179 2 4 3 2
Page 201 and 202:
8.5 Dominant Colour - Red ILS. 12:
Page 203 and 204:
1 5 13 9 2 14 3 6 7 10 183 15 11 4
Page 205 and 206:
8.5.2 Red - Symbol and Significance
Page 207 and 208:
8.6.1 The Findings Fig. 42: 7 Paint
Page 209 and 210:
8.6.2. Yellow - Symbol and signific
Page 211 and 212:
Regarding the dialogue between colo
Page 213 and 214:
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
Page 219 and 220:
is expressed in a number of finding
Page 221 and 222:
In this chapter: 9.1 Drawing in Cha
Page 223 and 224:
The use of this technique and these
Page 225 and 226:
The dialogue between line and Tone
Page 227 and 228:
8 Line encounters Tone of Colour in
Page 229 and 230:
1 5 1 2 209 4
Page 231 and 232:
lurred everything. I painted thin,
Page 233 and 234:
A repeating pattern is a form of ex
Page 235 and 236:
At first glance such patterns (Fig.
Page 237 and 238:
The technique of aquarelle is based
Page 239 and 240:
This technique introduces the subje
Page 241 and 242:
The terms 'collage' and 'assemblage
Page 243 and 244:
When the artist chooses a book as t
Page 245 and 246:
225
Page 247 and 248:
Chapter 10: STRUCTURE AND ORGANISAT
Page 249 and 250:
10.1.1 Findings and Interpretation
Page 251 and 252:
Fig. 75 (a, b): 6 Paintings - Part
Page 253 and 254:
This finding shows a partial face.
Page 255 and 256:
9 8 235 10
Page 257 and 258:
Here, disassembly takes another for
Page 259 and 260:
Zemach (1992) summarises it thus: "
Page 261 and 262:
SUMMARY TO THE INQUIRY 1 The chapte
Page 263 and 264:
I did not look for one absolute, un
Page 265 and 266:
Foreword This research study has tw
Page 267 and 268:
Diag.11 The 'Chain of Observations'
Page 269 and 270:
11.1 Split 1: Unification and Separ
Page 271 and 272:
The split that occurs at the 'mirro
Page 273 and 274:
hint or as Lacan (in Vanier, 2003)
Page 275 and 276:
The 'subject' is the person facing
Page 277 and 278:
profane ('Book Object', Readymade',
Page 279 and 280:
Lacan (in Vanier, 2003) defines it
Page 281 and 282:
Diag. 14: Split 3: ' Ego' and 'Self
Page 283 and 284:
'Ego' and 'self' join and collabora
Page 285 and 286:
history in a continuous process of
Page 287 and 288:
differentiates between the individu
Page 289 and 290:
11.7 Ego Designs a Portrait-Myth Ar
Page 291 and 292:
Chapter 12: THESIS SUMMARY Conclusi
Page 293 and 294:
4. My research broadens the concept
Page 295 and 296:
Chapter 13: IMPLEMENTATION AND VALI
Page 297 and 298:
interdisciplinary intersubjective,
Page 299 and 300:
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
Page 309 and 310:
the human being (Frankl, 1981). The
Page 311 and 312:
create works of art of universal va
Page 313 and 314:
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
Page 337 and 338:
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
Page 347 and 348:
This sentence can serve as a headin
Page 349 and 350:
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.
Page 355 and 356:
formative struggle takes place betw
Page 357 and 358:
Fig. 13(b): - 1 item - Handwriting
Page 359 and 360:
is hinting about reflection, self o
Page 361 and 362:
Here, too, the curled and uniform w
Page 363 and 364:
directing decision. Naturally, some
Page 365 and 366:
8 1 3 6 9 30 4 7 2 5
Page 367 and 368:
Fig. 12(c): 1 Item - Letters and Bi
Page 369 and 370:
Thus, handwriting has led the reade
Page 371 and 372:
ecomes a work of art about self-por
Page 373 and 374:
Here too the artist uses greyish: n
Page 375 and 376:
According to ancient beliefs, a lun
Page 377 and 378:
Appendix 3 8.1 Black and White PART
Page 379 and 380:
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
Page 385 and 386:
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
Page 397 and 398:
this work through. The yellow expre
Page 399 and 400:
. Fig. 36: 1 Detail - Finding from
Page 401 and 402:
5 The dialogue sharpens and now the
Page 403 and 404:
13 12 1 71 14
Page 405 and 406:
The word leaf appears in different
Page 407 and 408:
constrictions and work freely and t
Page 409 and 410:
(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
Page 415 and 416:
The assumption is that when the art
Page 417 and 418:
drawing process, as part of the act
Page 419 and 420:
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
Page 429 and 430:
of this study ― a core and key fi
Page 431 and 432:
Fig. 59 (4) depicts a figure reflec
Page 433 and 434:
101
Page 435 and 436:
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
show all

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

Create successful ePaper yourself

Delete template?

Save as template?