Master's Theses

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Date of Award

Summer 1967

Degree Name

Master of Science (MS)

Department

Art

Advisor

Eugene Harwick

Abstract

The paintings reproduced photographically in this thesis and others included in the artists graduate exhibit cover a period approximating two years of work. During this time a diversity of subject is noticeable, as well as a search for technical means commensurate with developing a synthesis. The earlier work is compositionally structured with accents on strong contours and monochromatic coloring. These works must be understood as originating from a basic Cezannian influence. The work consists of stilllife primarily presuming on an impersonal approach to the subject. Such synthetic works which follow become more analytically involved in plastic imagery in which various materials are used. The framework is still basically geometric and the various materials provide their own context in the formulation. Plastic structuring of a formal nature is carried on more subjectively from this point. A search through plastic structural imagery for greater subjectivity resulted in thematic subjects of a religious context, as well as a reconsideration of clowns and other subjects. The subjective sense in these works relies heavily on a vitally forceful imagery in which structure contains the movement of figures in depth. It is this very impulse of organic construction which both contains and projects the imagery. Mingled within the paintings, chronologically ordered, one may find abstract work. These paintings are perhaps responsible for the development of other more representational work. They have served to propel imagery in other works, where in themselves they may seem unresolved. Vitality is induced through a sort of action-painting in which imagery of an abstract essence is evolved. The last phase in my work is both linear and descriptive. Still basically involved structurally in architectural motifs the subject is configured out of a skeletal framework. Out of these works originated a purely visual configuration using classical architecture as symbol. They are vestigial images of the past, exerting their presence without the usual romanticizing attachment. In briefly describing how I work, I would have to prescribe a time-place attachment in which impulse would be at one with intent. My paintings begin in most cases out of an immediacy and compulsion to paint. The subjective sense develops in the process of a painting. As I want my paintings to speak forceably, I am intent on the intrinsic formal relationships which are constantly evolving toward fusion. When the vitality of the painting reaches a structural focus of imagery, then I am content to leave the viewer to his own devices. Painting is a personal expression always in the process of becoming, never seemingly reaching fulfillment. Much remains to be resolved in the work and many avenues of approach remain unexplored, but of what has been accomplished under the guidance of a fine advisor, I feel optimistic that the search will be carried on in the future work.

Rights

Copyright 1967 Gerald R. Richards

Comments

Notice: This material may be protected by copyright law (Title 17 U.S. Code).

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