Though prevalent in non-academic debate, the subject of Thomas Kinkade and his artwork is discernibly absent from the realm of academic discourse. This paper is an investigation into that condition and the circumstances for its perpetuation. Central to the issue is Kinkade's art theory and practice, which establishes his coexistence in both the art and business domains, creating inherent contradictions. Further explication is revealed through an evaluation of the contemporary criticism of four posthumously canonized artists: William Blake, Phillip Otto Runge, Vincent van Gogh, and Henri Rousseau. Consistencies among them correlate to the treatment of Thomas Kinkade, suggesting a common art historical methodology in operation. An evaluation of these findings generates alternative perspectives for considering his artwork and presents the possibility for relevant, engaging research into concerns well beyond its aesthetic merit.
","abstract_html":"<p>Though prevalent in non-academic debate, the subject of Thomas Kinkade and his artwork is discernibly absent from the realm of academic discourse. This paper is an investigation into that condition and the circumstances for its perpetuation. Central to the issue is Kinkade's art theory and practice, which establishes his coexistence in both the art and business domains, creating inherent contradictions. Further explication is revealed through an evaluation of the contemporary criticism of four posthumously canonized artists: William Blake, Phillip Otto Runge, Vincent van Gogh, and Henri Rousseau. Consistencies among them correlate to the treatment of Thomas Kinkade, suggesting a common art historical methodology in operation. An evaluation of these findings generates alternative perspectives for considering his artwork and presents the possibility for relevant, engaging research into concerns well beyond its aesthetic merit.</p>","abstract_has_math":false,"creators":["Moran, Kelly Drum"],"institution":null,"degree_name":"MA (Master of Arts)","degree_level":"Thesis - unrestricted","degree_discipline":"Art","degree_department":null,"school":null,"contributors":[],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2011,"date_issued":"2011-12-17T08:00:00Z","date_published":"2011-12-17T08:00:00Z","updated_at":"2026-07-24T02:20:31Z","subjects":["Art History","Art","Thomas Kinkade","Arts and Humanities","History of Art, Architecture, and Archaeology","Theory and Criticism"],"languages":[],"rights":["Copyright by the authors."],"rights_urls":[],"identifier_entries":[]},"links":{"outbound_url":"https://dc.etsu.edu/etd/1390","outbound_label":"Repository record","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:creator","label":"Author","values":["Moran, Kelly Drum"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date.available","label":"Dc Date Available","values":["1990-01-01T08:00:00Z"]},{"key":"dc:date.issued","label":"Date","values":["2011-12-17T08:00:00Z"]},{"key":"thesis:degree_discipline","label":"Discipline","values":["Art"]},{"key":"thesis:degree_level","label":"Degree Level","values":["Thesis - unrestricted"]},{"key":"thesis:degree_name","label":"Degree Name","values":["MA (Master of Arts)"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["Art History","Art","Thomas Kinkade","Arts and Humanities","History of Art, Architecture, and Archaeology","Theory and Criticism"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:rights","label":"Dc Rights","values":["Copyright by the authors."]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["https://dc.etsu.edu/context/etd/article/2581/viewcontent/MoranK121311f.pdf","https://dc.etsu.edu/etd/1390"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description.abstract","label":"Abstract","values":["Though prevalent in non-academic debate, the subject of Thomas Kinkade and his artwork is discernibly absent from the realm of academic discourse. This paper is an investigation into that condition and the circumstances for its perpetuation. Central to the issue is Kinkade's art theory and practice, which establishes his coexistence in both the art and business domains, creating inherent contradictions. Further explication is revealed through an evaluation of the contemporary criticism of four posthumously canonized artists: William Blake, Phillip Otto Runge, Vincent van Gogh, and Henri Rousseau. Consistencies among them correlate to the treatment of Thomas Kinkade, suggesting a common art historical methodology in operation. An evaluation of these findings generates alternative perspectives for considering his artwork and presents the possibility for relevant, engaging research into concerns well beyond its aesthetic merit.
"]},{"key":"dc:title","label":"Title","values":["Why Not Kinkade? An Evaluation of the Conditions Effecting an Artists Exclusion from Academic Criticism."]}]}],"canonical_facts":{"dc:creator":["Moran, Kelly Drum"],"dc:date.available":["1990-01-01T08:00:00Z"],"dc:date.issued":["2011-12-17T08:00:00Z"],"dc:description.abstract":["Though prevalent in non-academic debate, the subject of Thomas Kinkade and his artwork is discernibly absent from the realm of academic discourse. This paper is an investigation into that condition and the circumstances for its perpetuation. Central to the issue is Kinkade's art theory and practice, which establishes his coexistence in both the art and business domains, creating inherent contradictions. Further explication is revealed through an evaluation of the contemporary criticism of four posthumously canonized artists: William Blake, Phillip Otto Runge, Vincent van Gogh, and Henri Rousseau. Consistencies among them correlate to the treatment of Thomas Kinkade, suggesting a common art historical methodology in operation. An evaluation of these findings generates alternative perspectives for considering his artwork and presents the possibility for relevant, engaging research into concerns well beyond its aesthetic merit.
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