The main aim of this study is Joseph Cornell’s (1903-1972) box construction ofPenny Arcade Portrait of Lauren Bacall, and how the designing process fromproduction of the film to the screening embodied in a box the centre of Cornell’sgeneral interests: Penny Arcade Machine, Cinema and Actress, and to bring out itsvisual meaning with a cinematic view.Joseph Cornell was a Dutch American artist who had produced works of art usinga variety of forms of media such as collage, assemblage and film-making sincel930’s. As abstract expressionism was becoming the trend in art in America, he wasvigorously devoting his artistic talents to the making of a box construction whichwas regarded by some as ‘strange’. Ironically, Cornell’s major features: repetitivecomposition of adopted images and use of object were transformed into modern artafter the l960’s, and this illustrated his irresistible influence. His box constructionwas the centre of attention of both artists and art critics. Cornell’s box, which wasschematized compositing with collages of copied famous paintings and photographsin the box were sporadically made with no consideration of certain periods; themeslike his series of boxes:the Soap Bubble Sets, the Ballet, the Medici Slot Machine,and the Bird Cage from the l930’s to l950’s. The Penny Arcade Portrait of Lauren Bacallis evaluated as his masterpiece,which demonstrates his artistic values and his interpretation of the world as if hiswhole life was displayed in his own individual exhibition: Romantic Museum, at theHugo Gallery-Portraits of Woman in l946. Whilst Cornell was engrossed in MediciSlot Machine series, he became fascinated by the leading Lauren Bacall after he hadwatched her performance in the film ‘To have and have not’(1944) rather than beinspired by the movie itself. This brought him to start work on The Penny ArcadePortrait of Lauren Bacall.The most significant point in this work is to show its morphological featurethrough the motive, and through his record of the work. In other words, Cornell hadleft a dossier about Bacall from earliest beginning until 1970, two years before hisdeath. On the basis of the records, this research will describe the process of how heimported the structural features of Penny Arcade Machine which is the original formof film, and other filming techniques into this work. This also divided into Mise-en-Scene editing and showing aspects from filming to screening. First of all, Mise-en-Scene, which includes camera angles, movement and framing in a movie shows howrestraint photos in the frame was reconstituted in a formative way, and withreproduction of time, space and the controlling of distance between spectators.Secondly, editing confirms that each frame has a big effect on vision and brings asatisfactory result as interpreted frames by Mise-en-Scene are closely connected.Needless to say, predictable flow of works formed with narrative, generallydevelops with panoramic formation. Whilst Penny Arcade Portrait of Lauren Bacalldoes not have a clear direction or narration nor substance and was not summarizedas a special event, however, Cornell expanded the narrative by use of a montage, anda cross-cutting technique in his film.Lastly, The Screening, which is the core of this research, ‘Screening’does not refer to the practical meaning of showing. ‘Screening’at this point is a descriptiveword for basic installation, stimulation of illusion and, effectively, realization. Theapplied materials of the effective screen are that the first interlocking device in theform of Kinetoscope - as if pieces of film are moving, the second, ball in motion,and the third, Bacall’s close-up photo like a screen of film. Sorting through Bacall’sclose-up photographs, there are questionable facts which are evaded, trends in themovie, such as Bacall’s eyes towards the spectators; frame in frame, and exposingglasses as it stands. These features represent self reflection in a film, which meansan awareness of unrealistic illusion.Cornell tells us about the unrealism, and the fact that it is only installation whichleads people to look at fantasy, and intended vision by the use of self-reflection, as ifexposing that which lies beneath a mask. Through the characteristic of self-reflection in the media, Cornell presumably expressed his regret at the controversialremarks about Bacall as sexual material according to the opinion of the Researcher.

Despite her seemingly insufficient time of l0 years, as being an artist, includingthe period of art education, Paula Modersohn-Becker was highly productive in herartist skills by leaving more than 500 oil paintings, 700 sketches and 13 etchings.This suggests that her passion for art was not infinitesimal. Paula Modersohn-Beckermostly worked in the Worpswede Art Association wherein liberty and artisticactivity were highly regarded. In spite of her length of duration within the art circle,she was able to be independent of the shadow of the association because she alwaystried to learn a new approach. Paula Modersohn-Becker, it is understood, that herawareness of Worpswede’s characteristics and overcoming them enabled her toproduce progressive work. The researcher studies the properties of female portraitsin Paula Modersohn-Becker’s work.The researcher noticed that women in Paula Modersohn-Becker’s portraits werenot the only attraction but the accessories which the women are wearing in theportraits also viewers’eyes over them. The researcher also categorizes the variousfemales in her portraits into basic three subjects based on Greek mythology:Persephone, Demeter and Aphrodite, who is unusually used as the goddess of thecreativity in this study, according to Jean Shinoda Bolen’s original grouping form.Repeating the original form of Greek mythology, women, in Paula Modersohn-Becker’s portrait, have a propensity to be classical, and very unlike modernpainting. Paula Modersohn-Becker does not appear to have expressed any sympathy with feminism - which represented the new life-style in the city - and ‘equal rights forwomen’in those times perhaps because of her bourgeois background and also hersupport for Worpswede’s conventional female distinctiveness based on naturalism.Although there is no doubt that Paula Modersohn-Becker had a pre-modern view ofwomanhood, what we should heed is regardless of whether it be modernism or not,is that she had her own thoughts in a subjective way. Not only did she have themodern impression of tableau but she also worked as a professional female painterwhich was her dream and a most unusual career for a woman in those days. Thisproves that Paula Modersohn-Becker had a independent and subjective view of herprofession. Suggested to be the forerunner of female artists among phallic Germanexpressionism, Paula Modersohn-Becker should not be misjudged as an old-fashioned woman judged only by her painting.One omission in this study is that the researcher does not study comprehensiblyPaula Modersohn-Becker as the forerunner of German expressionism. In spite of thefact that Paula Modersohn-Becker’s achivements have been referred to as result ofrecent studies of German expressionism, there is not enough data about her works,with the consequent lacking of concrete studies of her and her works. Havingstudied Paula Modersohn-Becker with the diverse approaches hereafter,achievements of German expressionism are, hopefully, more affluent.

Born in London, Samuel Palmer (1805~1881) was the son of a bookseller. Aprecocious artist, he exhibited his work at the Royal Academy of Arts at the age offourteen, and executed a series of canonical “visionary”paintings before reachingthirty.In 1825, Palmer organized “the Ancients”, as they called themselves, a group ofadmirers of William Blake(1757~1827) that included Edward Calvert(1799~1883)and George Richmond(1809~1896), with whom Palmer painted the Englishcountryside in the Kent village of Shoreham, a small town thirty miles from London.It was during this prolific period in Palmer’s early career that Blake’s bucolicvision, as exemplified in his illustrations for Dr. Robert John Thornton’s Pastoralsof Virgil(1821) and his own Book of Job, deeply affected the young Palmer.Although the Ancients had several predecessors on the Continent, it was the firstartistic community established in nineteenth century England. Palmer’s Shorehamperiod saw his greatest achievements as an artist.Palmer was largely overlooked for forty years after his death, until the 1920s,when the British art world paid new attention to Palmer and the Ancients. Just as theRomantics had turned their attention to Gothic and Medieval art, the Neo-romanticsfound an interest in the Ancients. Blake and Palmer had created an English Arcadiathat inspired the artists of the early twentieth century who sought escape from thedevastation of the Great War.With their communal spirit and revival of medieval art, the Ancients anticipatedthe Pre-Raphaelites of the Victorian era. They deserve a place in British art historyas their influence may be seen in Neo-romanticism and even in contemporary art.

Stained glass, which flowered with Gothic architecture, the climactic era ofMiddle Ages art, conveyed to the faithful theological messages encoded in light, aswell as protecting sacred places from thee elements, made visible the true sun, thatis, the light understood as seen consubstantial with God. The splendid light andbrilliance radiating from the gem-like glass fragments to all intends and purposesmade visible the new Jerusalem on earth. This stained glass with bound formed anexus for the aesthetics and theology of the Middle Ages was to change throughtime and varied ways.Stained glass, overshadowed by painting from the Renaissance till the 18thcentury, came into prominence in the 19th century with the appearance of theEnglish pre-Raphaelite school, the beginnings of art nouveau style, and therestoration of stained glass in French Gothic churches in which Viollet le Ducplayed a central role. Artists such as John Ruskin in the U.K., John la Farge andLouis Comport Tiffany in the U.S. had a great influence on the development of the19th century stained glass, resurrecting stained glass from the lowly status ofcommercial art, and reuniting stained glass decoration with architecture through artnouveau. Due to their efforts, the distinct character of stained glass was restored butits intrinsic religious value in the context of historic church architecture wascompromised.In the 19th century the relation between the church and the artist was not as close as during the Middle Ages or the Renaissance period. Secular artists working withreligious themes had few opportunity to furnish works for churches. Churches, intheir turn, were filled with archaic works following the dictates and styles of the pastand supported academism in religious art. But at the beginning of the 20th century anew wind of reform began to blow through the decadence of church art. As a resultmainly of the reformers in Germany and France, the artists of Europe and the U.S.created stained glass works that reflected the new modern aesthetic and once againrestored the place of stained glass in modern churches through its incorporation intoarchitecture.

This thesis is the study about architectural sculpture in american art since late20th century focusing on works of Robert Smithson and Nancy Holt. Archtecturalsculpture is postmodernist sculpture looked like architecture and architecture;s scalebeing in actual space. Architectural sculpture installed in actual space have site-specific. RobertSmithson and Nancy Holt made large scale outdoor sculpture imbued with theirsurrounding. Their works evolved out of their site with consideration given to thetopography, built environment, and local materials, along with the psychology,sociology, and history of each place.It is possible that art can be integrated into society. It can be place to rest.Architectural sculpture fused with its environment can give social meanings andfunctions to the public. Architectural sculpture has interior space which inspired byshelter. Achitectural sculpture was informed by a counter cultural urge to carryoutside the precincts of the art world. it was also influenced by feminism. Feministsclaimed that it was natural for women sculptors to be attracted to image of shelter.Lucy Lippard suggested that the biological and sexual roots of “sheter sculpture”, asshe labeled it, were in the female body. Architertural sculpture is ecological. they concerned about environmental preservation. In particular, Smithson maintains that art could mediate between theecologist and the industrialist so he set up sculpture as land reclamation. Theconcept of sculpture as land reclamation was presented in some earthworks ofRobert Smithson’s Spiral Jetty, Broken Circle, and Spiral Hill in Emmen, Holland.Smithson’s intent in those works was to focus on the process of entropy. Smithsonbegan to think directly of land reclamation art and made attempts to work withmining companies and quarry owners. He thought that art should not be consideredas merely a luxury but should work within the process of actual production andreclamation.

This thesis deals with psychedelic of rock posters which emerged from Haight-Ashbury, San Francisco around the mid- to late 1960s, with a special reference toposter artists such as Wes Wilson, David Singer, Rick Griffin, Stanley Mouse, AltonKelley.With the birth of ‘psychedelic rock’music, rock posters emerged as a means ofpromoting regular concerts in dance halls. However, rock posters were characterizedby obscure lettering, primary colors, decorative styles, and the use of images whichhad nothing to do with concerts, and did not function as informative commercialposter; instead, they absorbed the newly emerging hippie culture, i.e. hippies’innerconsciousness and philosophy. In particular, the hallucinatory culture of the hippiehad a direct implication for the styles of rock posters. Hallucination provided hippieswith inner freedom rather than indulgence in pleasures. In addition, it enabled themto dream about their own ideals.The social atmosphere of the United States in the 1960s was increasinglycharacterized by confusion and anxieties from the Vietnam War, assassinations, andcivil rights movements. The young generation thought that human selfishness andmaterialism had created these phenomena, and began to value the inner, spiritualworld. They believed that hallucination could offer ‘immediate enlightenment’and‘instant Nirvana’, and sought to change the world through ‘love.’Thus love ofhuman beings, nature and world was expressed in rock posters as well. First, The sublime love of the world was expressed in hippies’yearning for the 'peaceful world.’The antiwar movement gathered hippies, and rock posterscontinued to theme peace with the images of goddess of peace, peace symbol andflowers throughout the 1960s. Second, the sublimation of human love was sought inthe liberation of physical pleasure. It was to transform the preexisting norms ofsexuality and to avoid hypocrisy, in order to experience orgasm intrinsic to sexualintercourse. To express such ecstasy of sexual intercourse, artists often portrayed inrock posters sensual women with a seductive and ecstatic face, who are dancing inthe nude. In addition, they combined various hallucinatory elements such as tobacco,LSD tablets, yellow eyes, organically flowing colorful patterns, distorted figures andso on. Third, the sublime love of the nature was pursued in aspiration for naturalisticway of life as well as an antipathy to consumer culture based on materialcivilization. Here Americans Indians’life provided an ideal model. The postersportrayed American Indians with aureole and inward eyes, and it shows that theywere considered as divine existence. In this way, hallucinatory motifs of rock posters in the 1960s visualized theaspirations for an ideal world within the hippie culture, and their significantcontribution lies in the creation of the ‘psychedelic style,’a new and uniqueAmerican style.

Since 1970s, Artists have disfigured and destructed human being’sbody. They were trying to display the properties of matter of body itself asa vessel of spirit or soul. In the 1980s, bodily images are main concern formany artist due to spreaded threat of AIDS. This could be the trial toexplore the body’s identity in the process from the individual range tosocial range. At 1990s, Artists who have dealt dismembered bodies,including Robert Gober, Chapman Brothers, Kiki Smith, and DamienHirst, have exhibited fragmented body parts and organs such as blood,skin, and hair, etc. The dismembered body have functioned as the site forthe investigation of our urgent concern for sexual identity, homophobia,and social discrimination as well as disease and death.Modern artists have progressed themes for dismembered body with theirown motif and strategy and expanded the region of art, enlarging andcutting out the parts of body, or showing the inner organs. The range ofthe dismembered body is expanded into the inner parts of body due to thevisibility of surface. The blood is inevitably accompanied from the surfaceof skin by these outcomes. Though the bodily fluids, including the blood,pus and sperm etc., is not lowly, nor abject, the body fluidity had beentreated as excrement. The matters like blood evoke complex feelings offreight, cruelty. death, dirty, and contamination etc. In the 1990s, artists like Kiki smith, and Marc Quinn presented real blood, semen, and milkwith their images.The works of Gober, the Chapmans, Kiki Smith, and Hirst are based onthe resistance against the social contradiction while those of Giacomettiand Bourgeois are originated from their autobiographical experience.Consequently the fragmented bodily images turn out to be dynamiccategories instead of representing the ideal body image. Completeness,perfection, and wholeness, which had been the criteria since ancient Greekart, are not universal value any more.: Dismembered bodily images are theproper means for suggesting pain, violation, and suppression.