{"id":{"repo_id":"umkc","oai_identifier":"oai:mospace.umsystem.edu:10355/70900"},"canonical_url":"https://search.dev.ndltd.org/etd/umkc/oai:mospace.umsystem.edu:10355/70900","repository":{"repo_id":"umkc","name":"University of Missouri - Kansas City","base_url":"https://mospace.umsystem.edu/oai/request"},"display":{"title":"Representations of the Dreaming Mind in Nineteenth-Century French Art","abstract":"During the nineteenth century, philosophic and popular interest in dreams and the unconscious increased dramatically. Simultaneously, artists and writers increasingly recognized the immense creative impulses that resided within their dreams and began to explore ways in which dream elements, such as free-association, sensory mixing, and metamorphosis of form, could be incorporated into their artistic output, including visual art and literature. Dreams, due to their inherent irrationality, were at odds with the ideologies of the Enlightenment, a belief which remained fashionable during this time but whose popularity was beginning to wane. Artists of the emerging Romantic period, on the contrary, found the unconscious immensely appealing due to its ambiguity and irrational nature. This study seeks to explore the development of dream representation in art over the course of the nineteenth century, from a formulaic depiction to one which relied on a new kind of visual language steeped in personal emotive content used to express the artists’ intention. This goal is achieved by looking at the dream theories of Romantic and Enlightenment philosophers Arthur Schopenhauer, Eduard Von Hartmann, and Voltaire, popular culture theories of dream interpretation before Freud, identifying and analyzing the external forces that can influence one’s unconscious, including hashish, synesthesia, and memory, and finally, a visual comparison of a variety of artworks that illustrate the dream or include dream elements, including an in-depth look at French artists J.J. Grandville and Victor Hugo, who developed unique and innovative techniques for expressing their individual dream-content, and instrumental in the further exploration and development of dream-work.","abstract_html":"During the nineteenth century, philosophic and popular interest in dreams and the unconscious increased dramatically. Simultaneously, artists and writers increasingly recognized the immense creative impulses that resided within their dreams and began to explore ways in which dream elements, such as free-association, sensory mixing, and metamorphosis of form, could be incorporated into their artistic output, including visual art and literature. Dreams, due to their inherent irrationality, were at odds with the ideologies of the Enlightenment, a belief which remained fashionable during this time but whose popularity was beginning to wane. Artists of the emerging Romantic period, on the contrary, found the unconscious immensely appealing due to its ambiguity and irrational nature. This study seeks to explore the development of dream representation in art over the course of the nineteenth century, from a formulaic depiction to one which relied on a new kind of visual language steeped in personal emotive content used to express the artists’ intention. This goal is achieved by looking at the dream theories of Romantic and Enlightenment philosophers Arthur Schopenhauer, Eduard Von Hartmann, and Voltaire, popular culture theories of dream interpretation before Freud, identifying and analyzing the external forces that can influence one’s unconscious, including hashish, synesthesia, and memory, and finally, a visual comparison of a variety of artworks that illustrate the dream or include dream elements, including an in-depth look at French artists J.J. Grandville and Victor Hugo, who developed unique and innovative techniques for expressing their individual dream-content, and instrumental in the further exploration and development of dream-work.","abstract_has_math":false,"creators":["Love, Rachael Alyson"],"institution":"University of Missouri--Kansas City","degree_name":"M.A. (Master of Arts)","degree_level":"A.M.","degree_discipline":"Art History (UMKC)","degree_department":null,"school":null,"contributors":[],"advisors":["Connelly, Frances S."],"committee_chairs":[],"committee_members":[],"year":2019,"date_issued":"2019","date_published":"2019","updated_at":"2026-07-24T05:18:34Z","subjects":[],"languages":[],"rights":[],"rights_urls":[],"identifier_entries":[]},"links":{"outbound_url":"https://hdl.handle.net/10355/70900","outbound_label":"Handle","outbound_source":"dc:identifier.uri"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor.advisor","label":"Advisor","values":["Connelly, Frances S."]},{"key":"dc:creator","label":"Author","values":["Love, Rachael Alyson"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date.accessioned","label":"Dc Date Accessioned","values":["2020-01-02T23:01:19Z"]},{"key":"dc:date.available","label":"Dc Date Available","values":["2020-01-02T23:01:19Z"]},{"key":"dc:date.issued","label":"Date","values":["2019"]},{"key":"thesis:degree_discipline","label":"Discipline","values":["Art History (UMKC)"]},{"key":"thesis:degree_level","label":"Degree Level","values":["A.M.","Masters"]},{"key":"thesis:degree_name","label":"Degree Name","values":["M.A. (Master of Arts)"]},{"key":"thesis:institution_name","label":"Thesis Institution Name","values":["University of Missouri--Kansas City"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier.uri","label":"Identifier URI","values":["https://hdl.handle.net/10355/70900"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description","label":"Description","values":["Title from PDF of title page viewed January 6, 2020","Thesis advisor: Frances Connelly","Vita","Includes bibliographical references (page 115-122)","Thesis (M.A.)--Department of Art and Art History. University of Missouri--Kansas City, 2019"]},{"key":"dc:description.abstract","label":"Abstract","values":["During the nineteenth century, philosophic and popular interest in dreams and the unconscious increased dramatically. Simultaneously, artists and writers increasingly recognized the immense creative impulses that resided within their dreams and began to explore ways in which dream elements, such as free-association, sensory mixing, and metamorphosis of form, could be incorporated into their artistic output, including visual art and literature. Dreams, due to their inherent irrationality, were at odds with the ideologies of the Enlightenment, a belief which remained fashionable during this time but whose popularity was beginning to wane. Artists of the emerging Romantic period, on the contrary, found the unconscious immensely appealing due to its ambiguity and irrational nature. This study seeks to explore the development of dream representation in art over the course of the nineteenth century, from a formulaic depiction to one which relied on a new kind of visual language steeped in personal emotive content used to express the artists’ intention. This goal is achieved by looking at the dream theories of Romantic and Enlightenment philosophers Arthur Schopenhauer, Eduard Von Hartmann, and Voltaire, popular culture theories of dream interpretation before Freud, identifying and analyzing the external forces that can influence one’s unconscious, including hashish, synesthesia, and memory, and finally, a visual comparison of a variety of artworks that illustrate the dream or include dream elements, including an in-depth look at French artists J.J. Grandville and Victor Hugo, who developed unique and innovative techniques for expressing their individual dream-content, and instrumental in the further exploration and development of dream-work."]},{"key":"dc:title","label":"Title","values":["Representations of the Dreaming Mind in Nineteenth-Century French Art"]}]}],"canonical_facts":{"dc:contributor.advisor":["Connelly, Frances S."],"dc:creator":["Love, Rachael Alyson"],"dc:date.accessioned":["2020-01-02T23:01:19Z"],"dc:date.available":["2020-01-02T23:01:19Z"],"dc:date.issued":["2019"],"dc:description":["Title from PDF of title page viewed January 6, 2020","Thesis advisor: Frances Connelly","Vita","Includes bibliographical references (page 115-122)","Thesis (M.A.)--Department of Art and Art History. University of Missouri--Kansas City, 2019"],"dc:description.abstract":["During the nineteenth century, philosophic and popular interest in dreams and the unconscious increased dramatically. Simultaneously, artists and writers increasingly recognized the immense creative impulses that resided within their dreams and began to explore ways in which dream elements, such as free-association, sensory mixing, and metamorphosis of form, could be incorporated into their artistic output, including visual art and literature. Dreams, due to their inherent irrationality, were at odds with the ideologies of the Enlightenment, a belief which remained fashionable during this time but whose popularity was beginning to wane. Artists of the emerging Romantic period, on the contrary, found the unconscious immensely appealing due to its ambiguity and irrational nature. This study seeks to explore the development of dream representation in art over the course of the nineteenth century, from a formulaic depiction to one which relied on a new kind of visual language steeped in personal emotive content used to express the artists’ intention. This goal is achieved by looking at the dream theories of Romantic and Enlightenment philosophers Arthur Schopenhauer, Eduard Von Hartmann, and Voltaire, popular culture theories of dream interpretation before Freud, identifying and analyzing the external forces that can influence one’s unconscious, including hashish, synesthesia, and memory, and finally, a visual comparison of a variety of artworks that illustrate the dream or include dream elements, including an in-depth look at French artists J.J. Grandville and Victor Hugo, who developed unique and innovative techniques for expressing their individual dream-content, and instrumental in the further exploration and development of dream-work."],"dc:identifier.uri":["https://hdl.handle.net/10355/70900"],"dc:title":["Representations of the Dreaming Mind in Nineteenth-Century French Art"],"thesis:degree_discipline":["Art History (UMKC)"],"thesis:degree_level":["A.M.","Masters"],"thesis:degree_name":["M.A. (Master of Arts)"],"thesis:institution_name":["University of Missouri--Kansas City"]},"updated_at":"2026-07-24T05:18:34Z"}