Art Theses and Dissertations

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The Adaptation of the Small Elementary School Building to a Modern Educational Program
(1930-07) Jensen, Peter L.
It is the purpose of this thesis to analyze the essential phases of a school building program in terms of educational, architectural, and economical practices, with the view of aiding in their cooperation in evolving a better school building.
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A Border and a Central Panel for a Floor in the Foyer of the Art Building
(University of Oregon, 1933-07) Ring, Marie K.
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A Fountain and Stairway Design for the Open-Air Theater Behind the Music Building
(University of Oregon, 1935-12) Overturf, Josephine Wiseman
... And now for a practical consideration of the problem. Here is a small outdoor theater for which I am to furnish a convenient entrance and exit. The group of people that will assemble here will be small. For this reason I have created by curve volumes, intimacy and unformality. By horizontal lines I have created a mood of rest and seriousness. There will be no need for a group to rush either into or out of this area -- this I have said with curved stairways. In formulating my idea I first built to scale a five foot bank with a ten foot slope as actually exists. Into this I sculptured or cut the volumes to coincide with the functions I have stated. The volumes illustrated emerged.
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A Group of Sculptures
(University of Oregon, 1963-12) Mayhew, Elza
The artist works for many years, and makes diverse things in varying media and styles. Then he finds, if he has worked with sufficient concentration, that for the most part he is ‘at home’—at his most humble, unpretending, best, most honest—in one particular manner of expression. Works in that style at Shows will attract him more that the others, good as the others may be, for he is gleaning all possible understanding of that way of expression. He is critical of himself and of others who work in this way.
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An Interpretation of the Four Evangelists in Sculpture
(University of Oregon, 1960-06) Forrester, Charles H.
The theme of the work for my thesis project is derived from the four Evangelists of the New Testament: Matthew, Mark, Luke and John. The gospel message which they wrote down and the traditional legends of their lives provided the inspiration for these sculptures. Some of the sculptures are interpretations of the Evangelists themselves, while others may be called symbols which are related to the spiritual content of the Gospels. In the Middle Ages various symbols evolved for each evangelist. These symbols were supposed to show that the Old Testament forecast the events of the New Testament. The four creatures mentioned in Revelations 4:7 and Ezekiel 1:10 were the bases of representing Matthew as an Angel, Mark as a lion, Luke as an ox, and John as an eagle. I have sometimes accepted these symbols as a starting point for my sculpture, because I value the role of tradition in Christianity. However, I am mindful of the fact that biblical scholars of all religious viewpoints agree that we know very little about the Evangelists themselves. The major source of inspiration for my sculptures is the Gospels themselves, not the personalities of the unknown authors. And thus my symbols are attempts to evoke the spiritual presence of the Gospels.
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Lithography and Painting
(University of Oregon, 1953-06) Hunter, Robert H.
In this terminal project record the intention if to make a statement of those considerations both technical and aesthetic, which I found important. In dealing with technical considerations, I am interested in them not only as they make certain results possible, but as they serve to stimulate my interest in the nature of the potentialities of design.
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Modelling Landscape Forms in Three Dimensions as a Project for Training in More Effective Perception of These Forms
(University of Oregon, 1937-07) Cantrall, Harriet M.
The purpose of this project is to show the advantage of the three dimensional approach to the perception of landscape forms by means of clay modelling. The method employed was first, to shape the models for the general proportions and size desired; second, the larger planes in their relative proportions; and finally, to add the sub-divisions and details. In the simpler models, close attention was given to acquire the technique – the clean, sharp joining of one plane cutting another – which is so important in the perception of the bulk of each of the uniting forms. When the models were completed and ready to photograph, the greatest care was taken that all edges were clean-cut and definite, and the surfaces well considered as to the form beneath. Masses were considered from all viewpoints so that the study would be in reality a three dimensional one; thus several compositions could be studied in one model. In finishing the model it is desirable to have the clay in such a state of moisture that it can be cut as one cuts a bar of soap – without disturbing the mass. Photographs must be made soon after the modelling is completed, since the edges are likely to be altered in the process of keeping wet wrappings about the models to prevent cracking of the smaller parts.
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Montana a Symbolic Figure to be Placed at the Entrance of the North Montana State Fair Grounds at Great Falls Montana
(University of Oregon, 1942-05) Conrad, Cyril Harry
Several clay sketches were made, studied, and set aside for future reference. Then a scale model of a portion of the fair grounds and the centrally located Mercantile Building was constructed. Reducing the preliminary with them in relation to their environment brought about many interesting problems. Early conceptions were based on the close association of the piece of sculpture with the Mercantile Building, which is a long horizontal building with a central tower. Therefore, all the early sketches were dominantly horizontal with a subordinate vertical.
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Paintings Concerned with Study and Investigation in Proportions Values and Intensities
(University of Oregon, 1956-06) Levra, Raymond Eugene
I have devoted the last two quarters to a series of drawings, paintings and lithographs concerned with the study and investigation of the “proportions within the areal break-up of the canvas, of value, and use of intensity.” In my last oral examination I was asked by what means I planned to carry out these aims. I realize that, at the time, I felt I would probably work out various color schemes concerned with value and intensity variances, and then do paintings based on these. At the time, I realized my need, but was uncertain as to how I would go about remedying my situation. What I did do is a little different from the rather “cut and dried” procedures I may have had in mind at the time.
Open Access
A Project in Sculpture: Creative Sculpture in Different Mediums
(University of Oregon, 1940-05) McDonald, Donald
This thesis involved the producing of five creative pieces of sculpture, one for each of the methods of included in the term “Different Mediums” referred to in the title if the thesis. There will be more than five figures shown at the oral examination for in some fields the scope can be better shown by more than one figure. But five as a minimum has to be considered as there are five different mediums to be presented in the thesis. These five mediums, stating them here merely for the purpose of specifying and later each to be gone into in more detail are, on, plaster; two, ceramic; three, wood; four, metal (sprayed and pounded); five, stone.
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Prospectus of Paintings
(University of Oregon, 1949-10) Groth, Claude William
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A Series of Oil and Watercolor Paintings
(University of Oregon, 1954-06) Braun, John C.
The graduate student, choosing to direct his energies and further his experience in painting and drawing should avail himself wholeheartedly to the percepts and concepts of his instructors and associates. Perhaps the period of undergraduate work can be characterized as an opportunity for gaining an awareness of particulars; such as acquiring an observable knowledge of all the tools and techniques of his practice in a general familiarization with works done in painting and related fields. If so, the graduate student, while continuing to expand his grasp of process and of things done must work for an order of experience whereby outward observable knowledge and knowledge from within through thought exist mutually and unite to form a sympathetic and cyclic pattern. It seems to me the observation can be characterized as impersonal and inner thought as personal. My paintings, and overall character, expressed an in personal attitude -- at least there is a quality of this nature about them that disturbs me. This criticism is constructive for me and has no disparaging connotation for those who have, conscientiously, assisted my development. The impersonal self in my work is alarmingly evident -- the sameness and stylistic character throughout attests to this. Apparently I was trying to excel as a painter in name; to initiate a recognizable self-expression and not to enlarge my experiences whereby the paintings would be a natural consequence.
Open Access
A Series of Paintings, Lithographs and Mosaics
(University of Oregon, 1954-06) Kimbell, Leonard
For me transparent watercolor seems a natural medium. There are many aspects of it that appeal to me. Its cleanliness, directness and clarity. It has potentialities of drawing which I admire and lends itself to a rapid inquiry not so evident in other media. The character of the brushwork can be seen, in fact is difficult to hide, and it can be given full use in the painting. With its combined characteristics of drawing and painting, and with the added charm of its directness, watercolor has been for me a most beneficial medium, and it is most certainly in it that I have come nearest to achieving what is for me some manifestation of that spirit I would like to achieve - a spirit of directness inspired by an immediate response to some aspect of whatever I have observed. As I have used it, watercolor has had the character of a medium for studies, a role for which it is well adapted. It can have the authority of a record of a thing observed and as such more often than not, reflects an atmosphere of confronting the situation itself.
Open Access
A Study of Space Arts in Relationship to Appreciation
(University of Oregon, 1936-09) Grossman, Catherine
Several fields of cultural endeavor have sought to explain the appreciative experience with reference to the various concepts characterizing it in each field. Philosophers have thought to explain the appreciative theory in terms of a single element. Psychologists have been concerned with the empirical and objective elements of the appreciative experience as they relate to the abilities and capacities of individual appreciators. Educators have considered the appreciation of art with reference to the part it plays in establishing desirable social attitudes and enabling evaluations of aesthetic values. Artists have centered their attention upon the aesthetic and functional elements of those materials which are the common substance of the arts. The concept of these thinkers with reference to art appreciation have been sought in effort to clarify the problem period emergent from the consideration given to the appreciation of art on the part of these thinkers are those concerns which sent her about the nature of the appreciative problem with respect to the social and individual personality factors characterizing it. Because of the existing confusion regarding the nature of these factors, this study was undertaken as an attempt to determine the elements which characterize the appreciative experiences of a selected group of students with reference to certain art forms. From such an analysis it was hoped to learn more about the appreciation of space art insofar as it is dependent upon perception and to gain insight into the nature and source of such perception. The entire study considers the appreciation of space art in regard to its worth as a factor of social advancement.
Open Access
Terminal Project Report: A Series of Paintings
(University of Oregon, 1955-06) Lewis, Henry
Objective: a series of paintings employing forms derived from abstraction of details of nature. For a prolonged period after graduation I delved into symmetries, complicated planes, integration of detail, pictures using the grid system, paintings involving flat patterned, a mild form of Cubism, paintings using only varied intensities of similar color to denote depth or projection and other approaches. These investigations at the time appeared unrewarding and there was very little sense of satisfaction for the paths of investigation seemed to keep bending back upon themselves instead of leading me forward. Finally I realized that I must take inventory of myself. Why was I uninterested in the problems that the majority of the students around me were interested in? Why did I often find it difficult to understand constructive criticisms of the work on my easel at the moment? Why was I painting? In this final question I found my answer. I was painting for the pleasure of creating, a projection of self, be it good or bad. I was neither an accomplished colorist nor an orderly perceptionist and I hated to admit that many technical details escaped my understanding yet I found myself attempting to employ devices and means apparently useful to others but relatively meaningless to me. At times the frustration prior to this self-analysis established a wall between instructors and myself but I am sure the instructors were no more disturbed by what they found on my easel than I was with my lack of direction.

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