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HOW THE FRAME WAS ONE
by
Dianna Lea Molzan
A Thesis Presented to the
FACULTY OF THE GRADUATE SCHOOL
UNIVERSITY OF SOUTHERN CALIFORNIA
In Partial Fulfillment of the
Requirements for the Degree
MASTER OF FINE ARTS
August 2009
Copyright 2009 Dianna Lea Molzan
Object Description
| Title | How the frame was one |
| Author | Molzan, Dianna Lea |
| Author email | diannamolzan@gmail.com; molzan@usc.edu |
| Degree | Master of Fine Arts |
| Document type | Thesis |
| Degree program | Fine Arts |
| School | School of Fine Arts |
| Date defended/completed | 2009-07-01 |
| Date submitted | 2009 |
| Restricted until | Unrestricted |
| Date published | 2009-08-04 |
| Advisor (committee chair) | Stark, Frances |
| Advisor (committee member) |
Fine, Jud Hainley, Bruce |
| Abstract | As Modernism began in the latter part of the 19th century, painters increasingly brought the deep pictorial space of the easel painting closer to the surface, and thereby to the viewer. By the end of Modernism, painting came to be understood as an object on the wall rather than a receding opening behind or within it. As a result of this spatial movement, frames dramatically changed in use and appearance, but 'framing' work remained important. Starting with the Impressionists, painters began experimenting with frames designed to extend and fuse with the picture plane - not merely to enshrine and harness a captured virtual space. My thesis examines the development of theoretical and symbolic uses of framing devices, primarily focusing on two works: Georges Seurat's La Grande Jatte - 1884 and Eva Hesse's Hang Up from 1966, both from the collection of the Art Institute of Chicago. |
| Keyword | art; painting; Eva Hesse; Georges Seurat; frames |
| Language | English |
| Part of collection | University of Southern California dissertations and theses |
| Publisher (of the original version) | University of Southern California |
| Place of publication (of the original version) | Los Angeles, California |
| Publisher (of the digital version) | University of Southern California. Libraries |
| Provenance | Electronically uploaded by the author |
| Type | texts |
| Legacy record ID | usctheses-m2476 |
| Contributing entity | University of Southern California |
| Rights | Molzan, Dianna Lea |
| Repository name | Libraries, University of Southern California |
| Repository address | Los Angeles, California |
| Repository email | cisadmin@dots.usc.edu |
| Filename | etd-Molzan-2990 |
| Archival file | uscthesesreloadpub_Volume17/etd-Molzan-2990.pdf |
Description
| Title | Page 1 |
| Contributing entity | University of Southern California |
| Repository email | cisadmin@dots.usc.edu |
| Full text | HOW THE FRAME WAS ONE by Dianna Lea Molzan A Thesis Presented to the FACULTY OF THE GRADUATE SCHOOL UNIVERSITY OF SOUTHERN CALIFORNIA In Partial Fulfillment of the Requirements for the Degree MASTER OF FINE ARTS August 2009 Copyright 2009 Dianna Lea Molzan |
