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MARK TOBEY AND THE BAHA'I FAITH: NE...
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The University of Texas at Austin.
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MARK TOBEY AND THE BAHA'I FAITH: NEW PERSPECTIVES ON THE ARTIST AND HIS PAINTINGS.
Record Type:
Language materials, printed : Monograph/item
Title/Author:
MARK TOBEY AND THE BAHA'I FAITH: NEW PERSPECTIVES ON THE ARTIST AND HIS PAINTINGS./
Author:
KELLEY, EDWARD RULIEF.
Description:
252 p.
Notes:
Source: Dissertation Abstracts International, Volume: 45-04, Section: A, page: 0978.
Contained By:
Dissertation Abstracts International45-04A.
Subject:
Biography. -
Online resource:
http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=8414395
MARK TOBEY AND THE BAHA'I FAITH: NEW PERSPECTIVES ON THE ARTIST AND HIS PAINTINGS.
KELLEY, EDWARD RULIEF.
MARK TOBEY AND THE BAHA'I FAITH: NEW PERSPECTIVES ON THE ARTIST AND HIS PAINTINGS.
- 252 p.
Source: Dissertation Abstracts International, Volume: 45-04, Section: A, page: 0978.
Thesis (Ph.D.)--The University of Texas at Austin, 1983.
This dissertation is primarily an examination of the impact of Mark Tobey's adherence to the Baha'(')i religion upon the content of his paintings. Tobey was firmly committed to this religion from 1918 until his death in 1976. His philosophy and attitudes about the meaning of life, the course of history, the prospects for the future of civilization, and the importance of artistic expression, were in conformity with the tenets of the Baha'(')i Faith.Subjects--Topical Terms:
531296
Biography.
MARK TOBEY AND THE BAHA'I FAITH: NEW PERSPECTIVES ON THE ARTIST AND HIS PAINTINGS.
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252 p.
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Source: Dissertation Abstracts International, Volume: 45-04, Section: A, page: 0978.
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Thesis (Ph.D.)--The University of Texas at Austin, 1983.
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This dissertation is primarily an examination of the impact of Mark Tobey's adherence to the Baha'(')i religion upon the content of his paintings. Tobey was firmly committed to this religion from 1918 until his death in 1976. His philosophy and attitudes about the meaning of life, the course of history, the prospects for the future of civilization, and the importance of artistic expression, were in conformity with the tenets of the Baha'(')i Faith.
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After a brief introduction, chapter one discusses the artistic environment within which Tobey developed. Associated with the New York avant-garde before 1920, Tobey was subsequently in contact with other major modern artistic movements of this century during their early stages of development in America. The summary of his artistic biography is followed by a chapter describing Tobey's early contacts with the Baha'(')i Faith, and a brief discussion of the Faith's history and basic principles. This chapter also includes the highlights of Tobey's Baha'(')i activities and his statements about his beliefs.
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Chapter four examines Tobey's early attempts at religious expression using representational means. His development of modes of expressing concepts beyond external appearances is the topic of the fifth chapter. The integration of his non-objective pictorial solutions with the use of Arabic and Persian calligraphy as religious iconography is explored next. Chapter seven reevaluates the influence of Asian art upon Tobey's paintings, distinguishing between the "calligraphic impulse" he received from Chinese and Japanese art and the use of Middle Eastern calligraphy as content.
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Light, time and space, and Revelation are three recurrent themes in Tobey's work. In chapter eight these themes are examined in relation to Baha'(')i teachings, especially as expressed in books owned by Tobey and in statements he made about these subjects. The impact of the Baha'(')i Faith upon Tobey's formal development, as well as upon the content of his paintings, is summarized in the conclusion. A coda assesses the status of Mark Tobey in twentieth century art.
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http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=8414395
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