• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.2
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• pp.159-166
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• 2014

Beatrix Farrand was America's first female landscape architect and Dumbarton Oaks in Washington, D.C., USA site of her best known garden design. The purpose of this study is to identify characteristics of the American Neoclassical tendencies in the early 1900s and Farrand's style through an analysis of Dumbarton Oaks. The results of analysis indicated that although Dumbarton Oaks was influenced by many European classic gardens, the garden has the unique style which reflects regional contexts and culture based on the philosophy of arts and crafts movement, The major characteristics of the late Neoclassical style in America can be summarized as follows. First, A series of terraced gardens were connected by paths and stairways and natural terrain was preserved as much as possible. Second, the formal and informal style coexist and the symmetric and asymmetric forms are well-balanced throughout the garden. Third, selection of plant materials and planting methods, influenced by both classical gardens and the Arts and Crafts style in UK, are in harmony with the space configuration and shape.

• Journal of the Korean Society of Costume
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• v.63 no.2
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• pp.82-97
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• 2013

The aim of this thesis is to investigate the change of men and women's costumes in late 18th century and early 19th century in view of its ideological streams by examining the portraits of the painter Jacques-Louis David. The method of investigation used was to select 29 pieces of portraits from 1766 to 1825, which showed the clear descriptions about the costumes and to analyze the costume's forms, ornaments and the headdress. The category was divided into 3 stages in terms of the changes in costume. The first stage, from 1766 until 1788, is the one of turnaround from the Rococo costume to the early neoclassical one. The typical Rococo costume was incrementally transformed into a simpler design without ornaments, and then natural silhouette in men and women's costumes started to appear from 1783 until 1788. This might be attributed to the neoclassical trend which was affected by the enlightenment ideology. The second stage, from 1788 until 1795, is the period of change from the costume of the early neoclassic style to the typical neoclassic style and also the time from the 1793 to 1795 was regarded as the peak of neoclassic style when the effect of enlightenment began to decrease while one of neoclassicism exerted its strong influence on the costume. The third stage, from 1795 until 1825, similar to the previous neoclassical style was also notable in its turning into producing the empire dress of Empire style. From 1820 on, it was a period that showed signs of influence from romanticism while the effect of neoclassicism started to become more diminished.

• Journal of Science of Art and Design
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• v.2
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• pp.5-41
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• 2000

The purpose of this thesis is to study about destructive method in late twentieth Century Paintings. To do this we will consider the examples of Frank Stella and Anselm Kiefer's expressive methods. And this thesis is designed to investigate the change of the two Modes. The centering change is in the destructive manner of them, and they are traced systematically. In these chapters we will study the procedure of the destruction and specification of the Modes; the subject which contains the special element, the relation between it and the artist's willful meaning, morphological specification, symbol system formative language, subject, material and coloring way. etc. The origin of the methodology is systematically studied and the procedures of the content applicated are considered. In the special characteristics of the methodology, the special feactures it contains will be considered. The basis of the deconstructive idea from Nietsche, Derrida, Saussire, Andrew Benjamin and others will be applied to understand the two Modes of artistic methodology, and whether or not they can be tools of explaining the methodology of our time is distinguished. Next, the methodologically founded contents and concepts from Chapter#2 are related and intertwined together. The outer destructive aspect and inner destructive specification are centrally uncovered by the Interpretation. The resulting background of the Mode, the factor of destruction and central concept, along with the works, applied ideas, and pre-scholar's writings, are conjoined and explained. The characteristics of S Mode are revealed as being similar to those of Vandalic Destruction and Baroque formalistic Style, while K Mode is closely related to Iconoclastic Destruction and Neoclassical Antiformal Style.