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Toward an understanding of the Beaux...

McRae, Richard Oliver, II.

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Toward an understanding of the Beaux Arts curriculum: A survey of six United States sculptors educated in Beaux Arts academies in the first half of the twentieth century.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	Toward an understanding of the Beaux Arts curriculum: A survey of six United States sculptors educated in Beaux Arts academies in the first half of the twentieth century./
作者:	McRae, Richard Oliver, II.
面頁冊數:	189 p.
附註:	Chairperson: Karen T. Kiefer-Boyd.
Contained By:	Dissertation Abstracts International61-03A.
標題:	Art History. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9963493
ISBN:	0599675853

Toward an understanding of the Beaux Arts curriculum: A survey of six United States sculptors educated in Beaux Arts academies in the first half of the twentieth century.
McRae, Richard Oliver, II.

Toward an understanding of the Beaux Arts curriculum: A survey of six United States sculptors educated in Beaux Arts academies in the first half of the twentieth century. - 189 p.

Chairperson: Karen T. Kiefer-Boyd.

Thesis (Ph.D.)--Texas Tech University, 2000.

The Beaux Arts Academy lasted some three hundred years, and by 1900 had become an international phenomenon with schools in every major capital of the world. For three centuries it produced the artists who formulated and founded the major periods of occidental art history—the Rococo, NeoClassicism, Romanticism, Realism, the Animaliers, Impressionism, Symbolism, the Barbizon, the Nazerene and Pre-Raphaelite Brotherhoods, Orientalism, Victorian Art, Art Nouveau, Art Deco, Advertising and Illustration, Surrealism, Fascist and Socialist Realism, and the Western Art of Indians and cowboys.

ISBN: 0599675853Subjects--Topical Terms:

635474
Art History.

Toward an understanding of the Beaux Arts curriculum: A survey of six United States sculptors educated in Beaux Arts academies in the first half of the twentieth century.
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245 1 0 $a Toward an understanding of the Beaux Arts curriculum: A survey of six United States sculptors educated in Beaux Arts academies in the first half of the twentieth century.
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500 $a Chairperson: Karen T. Kiefer-Boyd.
500 $a Source: Dissertation Abstracts International, Volume: 61-03, Section: A, page: 0802.
502 $a Thesis (Ph.D.)--Texas Tech University, 2000.
520 $a The Beaux Arts Academy lasted some three hundred years, and by 1900 had become an international phenomenon with schools in every major capital of the world. For three centuries it produced the artists who formulated and founded the major periods of occidental art history—the Rococo, NeoClassicism, Romanticism, Realism, the Animaliers, Impressionism, Symbolism, the Barbizon, the Nazerene and Pre-Raphaelite Brotherhoods, Orientalism, Victorian Art, Art Nouveau, Art Deco, Advertising and Illustration, Surrealism, Fascist and Socialist Realism, and the Western Art of Indians and cowboys.
520 $a Despite its substantial and highly significant history, the Beaux Arts Academy has been virtually ignored by historians of art education. When the Academy system is mentioned, two major problems become apparent: (1) A narrow definition of the Curriculum that exclusively emphasizes DRAWING as the technique, and the HUMAN FIGURE as the subject matter. The existence of Beaux Arts Sculptures of Lions, Eagles, and Equestrian Monuments by the thousands across the occidental world imply a larger, more extensive, more complex Curriculum. (2) A highly critical, Negative Bias against the Academy. This negative perception is inconsistent with its 300 year history, and international adoption. To resolve these discrepancies the author interviewed the last, surviving sculpture students of the Beaux Arts Academy system in the United States.
520 $a The results of the Sculptor Interviews challenge the narrow and negative perception of the Beaux Arts Academy held by scholars and historians in three main areas: (1) The significant presence of Sculpture, as well as Painting, Architecture, and Landscape Design in the Academy Curriculum. (2) The study of subject matter beyond the Human Figure, including: Costume, Flora, Animals, and Architectural Forms. (3) A positive perception of the Academy system.
520 $a Interview Results confirmed the author's Hypothesis—the Beaux Arts Academy Curriculum was larger, more extensive, and more complex than described by historians of art education. Other significant features to emerge from the research were the import of interdisciplinary Collaborative Competitions in the academy curriculum, and the distinction between the education of Fine Art Sculptors and Architectural Sculptors.
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