東華大學圖書館 |

語系: 繁體中文

說明(常見問題)

回圖書館首頁

手機版館藏查詢

登入

回首頁

切換: 標籤 | MARC模式 | ISBD

Faith Ringgold: The early works and ...

Farrington, Lisa E.

FindBook

Google Book

Amazon

博客來

Faith Ringgold: The early works and the evolution of the thangka paintings.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Faith Ringgold: The early works and the evolution of the thangka paintings./
作者:	Farrington, Lisa E.
面頁冊數:	418 p.
附註:	Source: Dissertation Abstracts International, Volume: 58-01, Section: A, page: 3000.
Contained By:	Dissertation Abstracts International58-01A.
標題:	Art history. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9720089
ISBN:	9780591286236

Faith Ringgold: The early works and the evolution of the thangka paintings.
Farrington, Lisa E.

Faith Ringgold: The early works and the evolution of the thangka paintings. - 418 p.

Source: Dissertation Abstracts International, Volume: 58-01, Section: A, page: 3000.

Thesis (Ph.D.)--City University of New York, 1997.

This dissertation examines the early paintings of Faith Ringgold from 1956 to 1973, within the framework of the black cultural and political nationalism of the 1960s and the Feminist Movement of the 1970s. In particular the two thangka landscape series (unstretched paintings bordered in fabric), entitled The Feminist Series (1972) and The Slave Rape Series (1972-73) are examined. These two groups of paintings are critical to the artists later works due to their unconventional format. They form a link between Ringgold's first mature works of 1963-67 and the painted "story quilts" begun in 1980, for which the artist is presently renowned. The thangka paintings are unique in that they represent a carefully constructed marriage between the Western tradition of painting on canvas and two distinct Non-western traditions: that of the Tibetan thangka (religious paintings on fabric) and that of African textile design.

ISBN: 9780591286236Subjects--Topical Terms:

2122701
Art history.

Faith Ringgold: The early works and the evolution of the thangka paintings.
LDR:02967nmm a2200301 4500 001 2076792
005 20161104141221.5
008 170521s1997 ||||||||||||||||| ||eng d
020 $a 9780591286236
035 $a (MiAaPQ)AAI9720089
035 $a AAI9720089
040 $a MiAaPQ $c MiAaPQ
100 1 $a Farrington, Lisa E. $3 891843
245 1 0 $a Faith Ringgold: The early works and the evolution of the thangka paintings.
300 $a 418 p.
500 $a Source: Dissertation Abstracts International, Volume: 58-01, Section: A, page: 3000.
500 $a Adviser: Rosemarie Bletter.
502 $a Thesis (Ph.D.)--City University of New York, 1997.
520 $a This dissertation examines the early paintings of Faith Ringgold from 1956 to 1973, within the framework of the black cultural and political nationalism of the 1960s and the Feminist Movement of the 1970s. In particular the two thangka landscape series (unstretched paintings bordered in fabric), entitled The Feminist Series (1972) and The Slave Rape Series (1972-73) are examined. These two groups of paintings are critical to the artists later works due to their unconventional format. They form a link between Ringgold's first mature works of 1963-67 and the painted "story quilts" begun in 1980, for which the artist is presently renowned. The thangka paintings are unique in that they represent a carefully constructed marriage between the Western tradition of painting on canvas and two distinct Non-western traditions: that of the Tibetan thangka (religious paintings on fabric) and that of African textile design.
520 $a The research begins with an examination of Ringgold's landscape paintings of the late 1950s which are gestural in brushwork, incorporate Impressionist lighting, and foreshadow the artist's interest in abstraction. This phase quickly evolves into her first mature painting series, The American People (1963-1967), which addresses issues of race relations between blacks and whites in America during the period in which the series was painted. Discussions of subsequent paintings, which militantly and often graphically address issues of sexism and racism, follow. These figurative works include The Black Light Series, The Political Posters, and For the Women's House, and were painted from 1967 to 1971. The 1972 group of watercolor paintings, Political Landscapes are discussed as they relate to the thangkas in terms of the integration of text and image. Finally three chapters are devoted to the thangka-style works, discussing the artist's material process, the nature of the tests included in the paintings, the use of the nude black female image, and the socio-political environment in which these works were created.
590 $a School code: 0046.
650 4 $a Art history. $3 2122701
650 4 $a Women's studies. $3 526816
650 4 $a Fine arts. $3 2122690
690 $a 0377
690 $a 0453
690 $a 0357
710 2 $a City University of New York. $3 1018111
773 0 $t Dissertation Abstracts International $g 58-01A.
790 $a 0046
791 $a Ph.D.
792 $a 1997
793 $a English
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9720089